J.HARTLEY MANNERS 




ciass__,,a rn 7^ 

Book ^f j5 j\ i3 , 
Copyright N"._ f/EL. 



CDBfRIGtiO' D£FOSI!C 



DRAMATIC WORKS OF J. HARTLEY MANNERS 



THE NATIONAL ANTHEM 



BY J. HARTLEY MANNERS 

The National, Anthem 

The Harp of Life 

A Play in Three Acts 

Three Plays 

God's Outcast: All Clear and 
God of My Faith 

Happiness 

and Two Other Plays 

Wreckage 

A Drama in Three Acts 

Out There 

A Dramatic Composition in 
Three Parts, on the World War 

The Wooing of Eve 

A Comedy in Three Acts 



THE 
NATIONAL ANTHEM 

A DRAMA 



BY 



J. HARTLEY MANNERS 




NEW XBJT YORK 
GEORGE H. DORAN COMPANY 






COPYRIGHT, 1922, 
BY J. HARTLEY MANNERS 

ALL BIGHTS RESEBVED, IXCLUOIXO THOSS 
OF TBAiJSLATIOK 



THE NATIONAL ANTHKM. I 
PRINTED IN THE UNITED STATES OF AMERICA 



JAN -9 '23 



TO 

LAURETTE TAYLOR 

AND HER LOYAL ASSOCIATES 

who did so much to make it memorable, 

1 dedicate this play, 

in admiration and high regard. 

Thi Attthob 



[Reproduction of Original Programme.] 

Produced at Henry Miller's Theatre, New York, 
on Monday, January 23rd, 1922. 



LAURETTE TAYLOR 

in 

THE NATIONAL ANTHEM 

A Play in Four Acts 
By J. Hartley Manners 



Produced under the Personal Direction of the Author 
Management of A. L. Erlanger and George C. Tyler 



[vi] 



[Original Programme: Continued] 



MARIAN HALE 
MADELINE TRENT 
MAUD-ETHEL 
ETTA 

ARTHUR CARLTON 
JOHN K. CARLTON 
TOM CARROL 
REUBEN HALE 
JIM PICKET 
NED SCOOFY 
DR. VIRANDE 
WAITER 



The Characters 

Laurette Taylor 

Miss Lillian Kemble Cooper 

Miss Jo Wallace 

Miss Greta Kemble Cooper 

Mr. Ralph Morgan 

Mr. Dodson Mitchell 

Mr. Frank M. Thomas 

Mr. Richie Ling 

Mr. Robert Hudson 

Mr. Ray Wilson 

Mr. Paul Porcasi 

Mr. William Armstrong 



The Scenes 
Act I — northchester Summer 

Act II NEW YORK 

Act III PARIS 

Act IV THE SAME 



Winter 

Spring 

The Afternoon of the Tenth 
Day 



[vii] 



FOREWORD 

THE NATIONAL ANTHEM OF CIVILIZATION 

This is the Age of the Young. 

Civilization is to be built anew by them. 

The old standards have been found wanting. 

They brought about destruction. 

New ones are to be founded — by the Young. 

The War shattered the old: stunned the middle-aged. 

The ideals they had clung to so long disappeared. 

It is for them to give all they have — their strength, 
their faith, to help the Young found the new Civilization. 

The call has gone out to Youth. 

How has it been answered.'' 

Those of them who came back from the War, having 
done all that was asked of them, instinctively flew to 
forgetfulness of what they had suflFered. 

It was natural. It has always been the outcome of 
conflict. After the fight the craving to forget in pleasure. 

But — those who were too j'oung to brave the dangers 
of 1914-1918, now reaching an age when they can 
help.? 

How have they responded.'' 

Alas ! they, too, have followed the craving for pleasure, 
without the excuse of Service nobly given. 

[ix] 



FOREWORD 

They are following it to-day — undisciplined, unli- 
censedj degrading. 

The old and the middle-aged are too feeble, too dis- 
couraged to check them. They meekly yield to the reck- 
less importunity of the conscience-less Young. 

Just as it is the duty of Age to protect Youth so that 
it may re-create civilization so it is the mission of Youth 
to step bravely to the Front and accept the responsibility 
it has been born to shoulder. 

Too many give not a thought to their very evident 
duty. 

From morn until night how often they think only of 
how the hours may be speeded in unhealthy activities, 
ribald conversation and the most vulgar of sensuous ex- 
citement. 

There are three curses to-day menacing the Young: — 
drink, the blare of the dancing-craze and the automobile. 

Drinking has become romantic. 

Dancing, shorn of all its old-time beauty, is but a 
pandering to the dawn of awakening lusts. 

The automobile driven by mere children, is the crown- 
ing example of the New Freedom. Through its mis-use 
have arisen many modern tragedies : tragedies of Youth. 

The old deference and respect of boy to girl, young 
man to young woman has passed. The girl exacts none: 
the boy has no instinct to proffer it. 

Rudeness has taken the place of courtesy. Slang, in- 
nuendo, and crude douhle-entendre provide the major 
portion of their conversation. 

The old are pushed into the back-ground, 
[x] 



FOREWORD 

They have taken their places there without a murmur. 

Tired, world-weary, they wait for the final release. 

The Young rarely think of them. When they speak 
of them it is with some current, happy turn-of-phrase — 
"Dumb-bells," 

They are objects of derision since pity, to-day, finds 
no place in Youth's curriculum. 

Religion has been banished: a sop to children and the 
weak-minded. 

"Good-times" is the slogan. 

And back of Youth beat the tom-toms, and blare the 
horns, and scream the discords of modern civilization's 
saturnalia — Jazz. 

It has the Young by the throat. 

It is the post-graduation from Youth to Manhood, 
from girl to woman. 

It is the diploma, the mark of the really civilized ! 

Jazz! 

What a mental picture rises as one sees the word in 
print. 

Civilization chants its tune as an anthem. 

And bodies writhe and intermingle and brains rattle 
in skulls as the ghastly jigging procession circles under 
blazing lights to the cheap, deafening 'music' ( !) of the 
tire-less orchestras. 

It will pass. 

It must — if the new civilization is to be founded. 

Jazz represents, in part, the revolt against restriction: 
against Puritanism: and the century-old fight — age ver- 
sus youth. To-day the struggle is less intense since 

[xi] 



FOREWORD 

Youth has thrown off such nineteenth-century shackles 
as veneration and affection. 

How seldom one sees the mingling of old and young. 

How beneficial it might be to both. 

Cromwell, amongst other lesser things, proved that 
barriers create incentives. 

So Prohibition has brought the hip-flask and exalted 
its wearer to the ranks of heroism. 

Anti-vice societies occupy columns in the newspapers 
with their activities. And Youth greedily snatches at the 
modern dance for the quickening of lusts and the auto- 
mobile for their gratification. 

Restrictive laws weaken character. 

Protect people from themselves by law and you foster 
a race of weaklings. 

The publicity given to societies who, in banishing 
segregated vice spread it all through healthy communi- 
ties, is a keen incentive to a section of the Young with 
no ideals, no reverence, no respect. It arouses unhealthy 
curiosity, morbid cravings and premature passions. 

And so the sexes mingle in degrading embrace to tunes 
the Indian and the Negro would despise, and emulate 
publicly the indecency philanthropic men and women 
are spending time and money to check among the less- 
fortunate classes. 

Jazz has become a Dance of Death — the Death of 
Youth. 

Decency, veneration and mutual respect are left be- 
hind with the cloaks and hats in the tiring-rooias of the 
jazz-palaces. 

[xii] 



FOREWORD 

How long will it last? 

Until the dawn of the new Youth proclaims the coming 
of the new Civilization. 

Jazz is but the symbol of this generation. 

It is not the cause of the present decadence: it is the 
outcome of it. 

With higher thought, nobler ideals and a return to 
mutual respect and reverence jazz will revert to whence 
it came — to the haunts of the degenerate and the hope- 
lessly vicious. 

And Youth must do this. 

Youth must awaken to the glorious possibilities that 
stretch before it. 

How wonderful it is to be Young to-day ! 

There is so much to do. 

Society must be re-established with such of the old 
customs as we can still look back on with pride at having 
lived amidst and sorrow at their passing, added to a 
newer and higher standard. 

Only the Young can accomplish this re-building. 

I think they will. 

We are living amidst the re-action from years of pri- 
vation and suffering. 

In its turn will come re-action against the present 
vulgar and debasing practises. And the votaries of to-day 
will look back, years to come, in dismay and remember 
with loathing the degraded spectacle they presented to 
the people of their time. 

The to-morrow of Youth will come. 

They will rise from the slough they are in to-day. 
[xiii] 



FOREWORD 

They will throw themselves heart-whole into helping 
a war-distracted world to re-build itself. 

Manliness will no longer be a synonym for black- 
guardism: it will be once more the sj^mbol of the gentle. 

Girls and young women will cease to emulate the move- 
ments and demeanor of the harlot in public places and 
return to the grace and beauty of the women of former 
generations. 

Rhythm of movement will return to the dance and 
music will be restored to the ball-room. 

To-day hideousness, roughness^ discord and loud- 
mouthed coarseness delight Youth. 

In the near future they will have lost their magic. 

The world was fashioned in beauty. 

Man has made it temporarily hideous. 

Beauty is our birth-right. 

It is for this generation to restore it. To bring back 
grace and courtesy: man's high regard for woman: her 
instinctive looking upward to him. 

Above all must be restored veneration for God, coun- 
try and home. 

How long must we wait? 

Until Youth awakens to its obligations. 

Then, and then only, will we have a world-beautiful, 
guided by reverence, and peopled by men and women of 
high hope, unbounded faith and mutual admiration and 
love. 

J. Hartley Manners. 
August, 1922 

[xiv] 



CONTENTS 

PAGE 

Foreword: THE NATIONAL ANTHEM OF 

CIVILIZATION vii 

Act I: NORTHCHESTER 15 

Act II: NEW YORK 82 

Act III: PARIS 142 

Act IV: THE AFTERNOON OF THE 

TENTH DAY 177 



THE PEOPLE OF THE PLAY 

Marian Hale 
Madeleine Trent 
Etta 

Maud-Ethel 
John K. Carlton 
Reuben Hale 
Arthur Carlton 
Tom Carrol 
Jim Picket 
Ned Scoofy 
Dr. Virande 
Waiter 

Act I: NOBTHCHESTER 

Act II: NEW YORK 

Act III: PARIS 

Act IV : THE SAME. THE AFTERNOON OF THE TENTH DAY 



Written 1921 



THE NATIONAL ANTHEM 



THE 

NATIONAL ANTHEM 

Act I: NORTHCHESTER 

The back-porch of a country club in Northchester. 
Afternoon. From within the club for some little time 
before the curtain rises an excellent orchestra is heard 
playing a series of stirring jazz tunes popular during 
the year 1920. After the curtain has risen little waves 
of chatter and youthful laughter rise and fall from the 
club house as the dancers approach and recede from 
the windows. The porch has several small tables with 
chairs grouped around them and on the lawn stretch- 
ing from the porch are several more. At one of them 
is seated John K. Carlton, a vigorous, powerful man 
of fifty-five. He is in a well-cut traveling suit; wears 
a light grey hat. All the details of his attire suggest a 
man of considerable means and no small personal 
pride. Shoes, socks, shirt and tie are of unusual quality 
and a single pearl pin matches the grey of his clothes. 
He listens to the spirited jazz music and unconsciously 
keeps time to its infectious gaiety with his head, his 
fingers and his feet, though to judge by the stern, 
[15] 



THE NATIONAL ANTHEM 

somewhat grim expression on his face his mind is far 
from dancing. 

A sunburnt ground attendant, in shirt-sleeves, the shirt 
rolled up and held by elastic bands, tools in hand, 
crosses from behind the club-house. As he hears the 
music his steps quicken and he disappears jigging 
awkwardly and humming the tune. 

Two small caddies appear from the right of the lawm 
with nets on poles, chatting and laughing. They also 
hear the music; one ejaculates : "Gee" and taking the 
other by the shoulders they jazz clumsily off. 

A Waiter comes from within, down the steps, with a tray 
on which is a long glass of lemonade with straws. He 
goes to the table at which Carlton is seated, puts glass 
down and hands Carlton a check to sign. Whilst he is 
signing it the Waiter jazzes unconsciously to the mu- 
sic. Carlton hands the waiter the check who instantly 
stops jazzing. 

CARLTON 

I've signed my son's name. I'm not a member. 

WAITER 

[^Glances at clieck.l Oh, yes, Sir. Mr. Arthur Carl- 
ton. That will be all right. [Involuntarily twitching to 
dance."] 

CARLTON 

What's the name of that ? [Indicating music.'] 

WAITER 

"You'd be surprised." Some snap to it. Sir. [Carl- 
ton drinks through the straws.] 

[16] 



Act I: NORTHCHESTER 

[Waiter shuffles off to the club-house swaying his 
shoulders to the tune. As he reaches the steps a 
jolly-looking man of middle-age, dressed for golf, 
knee-breeches, rolled stockings, low shoes, flannel 
shirt, open at the collar, and thin grey sweater, 
carrying coat on arm and mopping his forehead, 
comes out of the club-house. He is Reuben Hale. 
He speaks to the waiter, who says "Yes, sir" and 
disappears into the club-house. Hale goes straight 
down to Carlton who rises to greet him. They 
shake hands warmly. During the scene that follows 
the dance-music occasionally stops, followed by sus- 
tained hand-clapping ; then the dance is taken up 
again.^ 

HALE 

Spafford told me you were out here. Hoav are you? 

CARLTON 

Fine. You look well. 

HALE 

Never better. 

CARLTON 

Dancing.'' 

HALE 

Not yet. Just finished eighteen holes of golf. I may 
have a turn or two presently. 

CARLTON 

[^Amused and disgusted.]^ Ye don't say? 

HALE 

I'm crazy about it. It keeps us old 'uns young. 
[17] 



THE NATIONAL ANTHEM 

CARLTON 

And the young 'uns old. 

HALE 

Oh, I don't know. A bit of fun is all right. Marian's 
inside somewhere. Dancing with Arthur likely as not. 

CARLTON 

Is she? 

HALE 

What are you doing here.^ 

CARLTON 

I've come for Arthur. 

HALE 

Oh? 

CARLTON 

His mother wants him for a bit at Bar Harbor. 

HALE 

I don't think he'll want to go. 

CARLTON 

He'll go. 

HALE 

He's been the life and the soul of the season here. 

CARLTON 

More life than soul from what I hear. 

HALE 

[Laughing good-naturedly.] That's true, too. 

[Waiter brings White Rock with glasses, ice, etc. 
Hale signs check. Waiter is again markedly affected 
by the music and sidles off to it.] 

[18] 



Act I: NORTHCHESTER 

HALE 

[^Takes a flask from his hip-pocket and pours liquor in 
glass. Holds up flask to Carlton.] Have some? 

CARLTON 

[Shakes his head negatively. '\ Huh-huh. 

HALE 

Haven't cut it out, have ye? 

CARLTON 

No. Just at meals and one or two before I turn in. 

HALE 

I was going to say. At our time of life. [Drinks 
deeply and heartily; gives a breathless, satisfied sigh.^ 
Ha ! I needed that. Any fanatic who would take it 
away from a man after eighteen holes on a hot day is a 
public menace. [Carlton laughs drily.'] That's what 
this particular part of the porch is for. 

CARLTON 

Is it? 

HALE 

Tea and lemonade on the /ro«f-porch where they can 
watch the tennis: — respectability. Flasks and mineral 
water on the 6acAr-porch. Damnation. Splendid isola- 
tion. Me! [Finishes drink and laughs.] 

CARLTON 

No women, eh ? 

HALE 

No women? You wait till the dance is over. That's 
their table. [Pointing to one on porch.] And why 

[19] 



THE NATIONAL ANTHEM 

shouldn't they? If they want it? Not a bit of harm. 
Dance it off, and have some more. Does 'efn good. 

CARLTON 

I've wondered. 

HALE 

Ye needn't. As nice a bunch of healthy, good-looking 
girls as you want to see. Full of life and fun. Not an 
atom of harm in one of 'em. 

CARLTON 

What a favored spot you've dropped into. 

HALE 

That's why your boy loves it. 

CARLTON 

I can quite believe it. Especially the back-porch. 

HALE 

I never saw a young man get more out of life. Bright 
and jolly all day and every day. And you've come to 
take him away ? 

CARLTON 

Yes. And about time. — Eh? 

HALE 

Oh; I don't know. 

CARLTON 

Don't you? 

HALE 

No, I don't. No harm in him. 

CARLTON 

Not much good either, Reuben. 
• [20] 



Act I: NORTHCHESTER 

HALE 

Oh! Get out. What is he? Twenty-four? [Carl- 
ton nods.] What's the use of being young if ye don't 
act young? We get old quick enough. 

CARLTON 

That's about all you can say for Arthur. He's young. 
And, being the son of a rich man, there is no harm in 
anything he does. [Takes out letter and looks at it.] 
Arrested twice in ten days for speeding. Turned out of 
one of those damned, low-lived, dancing road-houses one 
night last week, and has made himself a general nuisance 
to all the decent members of the club ever since he's been 
here. [Holds up letter.] How about it? 

HALE 

I'm decent, John, and I like him. Who's filled you 
up with that stuff? [Pointing to letter.] Old Crashaw, 
eh? He don't belong to a man's club. He should join 
a sewing-bee. ... I know all about it. The bicycle 
cop arrests us all. They've got tired fining me. And as 
for the road-house, someone had been rude to Marian, 
and Arthur punched him. And I'm damn glad he did. 
And so ought you be. 

CARLTON 

[Looks at him keenly.] Rude to your daughter, eh? 



Yes. A little party of them drove over to "Mossy 
Grove." A nice enough place. The right people around 

[21] 



THE NATIONAL ANTHEM 

here go to have a chat and a dance once in a while. And 
some fellow from New York tried to butt in and Arthur 
wouldn't stand for it. 

CARLTON 

You let Marian go to rooJ-houses? 

HALE 

Why not? AVhere's the harm? 

CARLTON 

Maybe not. ... I wouldn't like my girl to go around 
in that sort of company. 

HALE 

Rubbish. They all go. Marian loves to dance and 
she's crazy about Arthur. 

CARLTON 

Oh? Is that so? 

HALE 

They're always together. 

CARLTON 

And you don't mind? 

HALE 

Mind? I'm just as fond of him as she is. 

CARLTON 

I see. . . . I'd mind, Reuben, if he was your son and 
Marian my daughter. 

[22] 



Act I: NORTHCHESTER 

HALE 

[Laughing heartily.^ Oh, come off, John. . . . Let 
'em have a good time amongst themselves. It's better 
than the young men rotting around cities with the other 
sort, take it from me. I don't know any boy I like as 
well as I do Arthur. He's quite one of the family. 
Beats me at golf in the morning; licks everyone at tennis 
in the afternoon, with Marian as his partner; and twice 
a week takes my money at "auction." 

CARLTON 

[Grimly.^ Quite one of the family. Would you like 
to have him really in it? 

HALE 

Sure I would. If Marian wanted to. 

CARLTON 

Reuben ! A charming girl like Marian — and — Arthur! 

HALE 

Why not? 

CARLTON 

She deserves something better than my drunken whelp 
of a son. 

HALE 

Here ! Here ! 

CARLTON 

What else is he.'' 

HALE 

If it comes to that you haven't done much to make him 
anything else. 

[23] 



THE NATIONAL ANTHEM 

CARLTON 

I gave up any hope of doing it long ago. I don't have 
to take a yard-stick to measure a man. I employ too 
many. At his age I was responsible for a hundred men 
and could handle 'em, too. I didn't get to that by golf, 
tennis, "auction" and dancing either. 

HALE 

How do you know Arthur couldn't? Why didn't you 
give him a push-ofF if you wanted him to follow you.'' 

CARLTON 

Because I knew he wasn't worth it. 

HALE 

Oh, come. . . . 

CARLTON 

He was kicked out of two schools. Spent a drunken 
year at college and I was asked to take him away. Now 
he's a parasitic loafer living on me and his mother. 
[With an ejaculation of disgust.'] What's the use of 
wasting thought on him? 

PIALE 

You just shirk the job, eh? 

CARLTON 

No. I chucked it. . . . Let him do as he likes. 



Why not cut off supplies and make him work ? That's 
what I'd have done instead of throwing my hands up 
and putting the blame on him. 

[24] 



Act I: NORTHCHESTER 

CARLTON 

No, Reuben, you wouldn't. . . . Not Arthur. There 
are too many in the penitentiaries as it is. That's where 
he'd have finished up if I left him to shift for himself. 
. . . He can have all the money he wants. ... It isn't 
that. He has no character, Reuben. . . . Pretty tough 
for me to have to say it. ... I wouldn't have if you 
hadn't told me your girl liked him. . . . Keep her away 
from Arthur's kind. ... I like Marian. 

HALE 

And I like Arthur. In spite of his faults. . . . 
Marian knows them as well as I do. He's a clean, manly 
boy. Straight as a string. Drinks a bit too much once in 
awhile. What of it? Who doesn't.'' Especially now 
that we are told we mustn't. ... I hate to hear you 
talk about him that way, John. 

CARLTON 

Not more than I do to have to, Reuben. 

HALE 

Going to take him away? . . . Now? 

CARLTON 

Yes. Tonight. They've been writing this sort of 
letter to his mother — it isn't the only one — and she's 
worried. She'd like him with her for a bit. 

HALE 

Wow! . . . That's tough. The tennis-tournament 
next week. He and Marian are sure to win the doubles. 
Golf handicap the following Thursday. And a mas- 
[25] 



THE NATIONAL ANTHEM 

querade when the prizes'll be given. . . . Too bad. . . . 
Marian'll be upset too. . . . She's really fond of him, 
John. 

CARLTON 

Think she wants to marry him? 

HALE 

I wouldn't be surprised. . . . We've never talked 
about it. 

CARLTON 

And you'd let her? 

HALE 

Sure I would. All I care about is to see her happy 
and if Arthur's the one to do it I'm satisfied. 

CARLTON 

You never had much sense^ Reuben. 

HALE 

[Laughs good-humouredly.^ I've had enough to en- 
joy every minute of my life. So's my girl. 

CARLTON 

Wake up. Get her out of the drinking, jazzing set. 
She's worth better than that. 

HALE 

[Laughing. '\ There's no harm in it. Young people 
will have their fun all the world over. It happens to be 
the kind they like this generation. It will pass and 
something else will take its place. Worse, maybe. . . . 
It's always the way with restrictions. Ye don't form 
character by "Don'ts" ! I've nevey believed in them. 

[26] 



Act I: NORTHCHESTER 

Make blue-laws and it's fun to break 'em. . . . After a 
bit the novelty will wear off. It'll be exciting no longer. 
The zest will have gone. . . . That's all our young peo- 
ple are doing. Having a good time. By and bye it 
won't seem so good and maybe they'll sit home around 
the radiator and knit, and talk about us, same as we are 
about them. . . . Not a bit of harm in any of 'em as far 
as I can see. 

CARLTON 

You're very cheery about it. You don't have to handle 
thousands of working-men growing more and more dis- 
contented every day just because of the very things 
Arthur and his kind are doing. They don't see why 
they should do without something they've had all their 
lives while my son can get all he wants. And you say 
"no harm" ! 

HALE 

None at all. As long as they do it in their homes and 
their clubs. 



CARLTON 



Is that so.'' 



HALE 

Where's the harm? 

CARLTON 

The man that keeps the golf-course in shape sees 
them — on the back-porch. The caddies see 'em. And 
they go back to their wretched little homes and spread 
it. It's eating in like a cancer. . . . Everywhere. . . . 
I know because lots of 'em work for me. . . . And a 
[27] 



THE NATIONAL ANTHEM 

pretty sullen lot the workmen of today are becoming 
because of the Arthurs. And you say "No harm at all." 
[The dance-music rises to a wild pitch aided by the 
scream of the laughing-horn and the beating of tom- 
toms. Thru and above the noise the merry laughter 
of the dancers floats out happily thru the windows. 
Carlton has to stop for a moment, the crash is so 
insistent. He gives an ejaculation of fervent dis- 
gust. When the music quiets down he goes on 
vehemently. ] 
Listen to that damned senseless, barbaric discord. 
The kind of sound you'd expect Indians or negroes to 
beat out when they're frenzied with rum. . . . Listen ! 
You can hear their brains rattling in their skulls. God ! 
It's become like a national anthem ! Whenever a band 
strikes up a jazz I feel like standing up and taking my 
hat oiF. It is our national anthem ! 

[The music stopped a few seconds before he finished 
speaking. There is a, good deal of chatter and 
laughter as two young men and two young girls 
come out of the club-house, very hot, very happy. 
They are mopping perspiring brows panting with 
healthy exhaustion and humming the jazz music 
that disturbs Carlton so greatly. They group 
around a table amidst much scratching of wooden 
chairs on the wooden porch. The young men (Jim 
Picket and Ned Scoofy) produce flasks from their 
pockets. Waiter brings glasses, water, and min- 
eral waters. Ned signs check, and Waiter takes it 
into the club-house. As they mix drinks the young 
[28] 



Act I: NOit i KuHliS i liR 

people chatter vigorously/. The two older men stop 
talking and listen.^ 

ETTA 

What a stunning band ! 

JIM 

Arthur brought it from "Mossy-Grove." 

MAUD-ETHEL 

That accounts for the number of encores. 

NED 

The leader took his signal from Arthur. 

ETTA 

As long as Marian could keep going we had to. 

JIM 

/ didn't mind. Did you? 

MAUD-ETHEIi 

It was too heavenly. 

NED 

Think I've improved? 

ETTA 

Not so's you could notice it. 

NED 

I take lessons twice a week in the winter. 

ETTA 

And practice on me in the summer .'' Thanks. [Takes 
glass from Jim.] 

[29] 



THE NATIONAL ANTHEM 

NED 

I always expect a hand on my shoulder in the middle 
of the floor and a voice saying: "Here! Stop that 
struggle !" 

MAUD-ETHEL 

Don't be discouraged, Ned. It will come to you quite 
suddenly. It did me. I was an awful lemon last year. 
Remember? Thanks. [Takes glass from him.'\ 

[Silence as they all drink earnestly rvith glowing sat- 
isfaction.'] 

JIM 

[Resting a moment between gulps.^ Give me a Jazz- 
thirst ! Ha ! 

NED 

Good stuflF. 

JIM 

Fine. 

ETTA 

Great. 

MAUD-ETHEIi 

Not so bad. 

NED 

How much? 

JIM 

A hundred and fifty. 

NED 

Good enough. Got some "five-star" last week. Right 
off the boat! 

JIM 

[Holding up his glass. ] This is the stuff to drink out 
of doors. I think the country's a great place. A bath 
in the cold, salt water — and then a cocktail. A long 

[30] 



Act I: NORTHCHESTER 

tramp over a wind-blown golf-course and wliat a joy is 
a "high-ball." A hot set of tennis and a cool gin-and- 
seltzer. Then at night you jazz and drink and drink 
and jazz and sleep? — Why ye sleep like a top. Great 
place the country. [DrinA*.] How are you off for 
gin, Ned .'' 

NED 

Oh, that's easy. I make my own. 

ETTA 

Do you? 

MAUD-ETHEL 

Thanks for timely warning. 

NED 

Couldn't tell the difference. Come in on your way 
home and I'll mix you the nicest little home-brew you've 
ever tasted. 

MAUD-ETHEL 

No amateur stuff for me. 

NED 

Nix on the "amateur stuff." You couldn't tell it 
from "Gordon." Honest you couldn't. After a swim 
the other morning we were all a bit chilly so into the 
car, up to the Villa and out with the old shaker. I had 
three before lunch and felt great. Arthur punished poe. 
He's crazy about it. He got the prescription from me 
and starts making it tomorrow. 

CARLTON 

[To Hale.] Not if I know it. 
[31] 



THE NATIONAL ANTHEM 

JIM 

My chauffeur makes tlie finest beer. Really fine. . . . 
I gave him the house to himself one night for a little 
party and next morning I counted twenty-eight "emp- 
ties" by the cold, grey light. Ttventy-eight! 

MAUD-ETHEL 

I hate beer. Do you like beer? [To Etta.] 

ETTA 

Not when I can get this. [Finishing her drink.'\ 

JIM 

He keeps us all in beer. A week ahead always. 

NED 

Some chauffeur. 

JIM 

He drives for me as an amusement, I think. To prove 
an alibi. I bet he makes enough on the side to buy a 
"Rolls-Royce." When I see a "traveling" look in his eye 
I raise his wages. 

ETTA 

Arthur needs a chauffeur. [They all laugh.l 

MAUD-ETHEL 

Next time Arthur's "pinched" they'll put him in jail. 

ETTA 

Where can they be? 

JIM 

I thought they were following us. 
[32] 



Act I: NORTHCHESTER 

NED 

They said they were. 

ETTA 

Is he going to dance with Marian all the afternoon? 

NED 

Guess so. 

MAUD-ETHEL 

Perhaps she wouldn't let him join us. [Holding up 
glass.] This! 

JIM 

[Laughs.] Not a chance. 

NED 

I should say not. 

JIM 

Arthur's a natural-born, free-for-all, two-handed 
drinker. 

[Carlton looks at Hale. Hale laughs.] 

NED 

Marian'd have a fine time making him "dry." 

ETTA 

I don't know. If he really loves her. 

MAUD-ETHEL 

He loves her all right. Poor Arthur. 

ETTA 

Might be the best thing for him. He needs a strong 
hand on his drinking-arm. 

[Pantomimes restraining someone from drinking.] 
[33] 



THE NATIONAL ANTHEM 

JIM 

Arthur would as soon quit breathing as drinking. 

ETTA 

Rather. 

MAUD-ETHEL 

Oh, I don't know. He might. For a month or two. 
If she'd marry him. 

ETTA 

He had a proposing look in his eye when he whirled 
past us just now. 

MAUD-ETHEL. 

Perhaps she's lured him to the lemonade-porch. 

ETTA 

I love the idea. Sacred and profane drinking-porches. 
I wonder if he's proposed on the sacred porch ? 

MAUD-ETHEL 

And she's saying, "Yes, if you'll sip through two 
straws for the rest of your days." 
[All laugh.'] 

ETTA 

Marian doesn't know she's alive. Hasn't had a drink 
in her life. 

MAUD-ETHEL 

She hasn't had a drink but you mustn't say she isn't 
alive. 

JIM 

No, indeed. Marian seems to go at top speed without 
gasoline. 

[34] 



Act I: NORTHCHESTER 

ETTA 

Still she'd be all the brighter for a "spot" now and 
again. 

MAUD-ETHEL 

I'd hate to see her take it. She's so full of pep with- 
out it. 

CARLTON 

[Rising and crossing to club-house steps. ^ Let's see 
if they're there. 

HALE 

Right you are. We may be in at the death of a 
lemonade. [Walking with him.'] 

CARLTON 

Or Arthur. Those his pals? 

HALE 

Some of 'em. 

CARLTON 

They would be. 

HALE 

No harm in 'em. 

CARLTON 

According to you there's no harm in anything. 
[Glares at the young people.] 

HALE 

[Cheerily — smiling at them as they look up, nudge 
each other and indicate the two parents.] Hello ! En- 
joying yourselves.'' 

JIM 

Resting between rounds. 

[35] 



THE NATIONAL ANTHEM 

NED 

And refreshing. 

JIM 

Join us? 

NED 

Come on. Skipper. 

HALE 

Had mine. But I'll remember it. Ask me later. 

MAUD-ETHEL 

Don't forget our dance. 

ETTA 

And ours. 

HALE 

[Heartily.'] I won't. I'll be around to claim 'em. 

ETTA 

Don't forget. 

HALE 

Right you are. 

[Hale and Carlton go into the club-houte.l 

ETTA 

He's a dear. 

MAUD-ETHEL 

Sweet. 

ETTA 

Does everything Marian does. Refuses her nothing. 
He's something like a father. 

JIM 

Who's his friend? 

NED 

Didn't think much of him. Did you see the parting 
look? 

[36] 



Act I: NORTHCHESTER 

ETTA 

Just like my Dad. Everything I do is wrong. Poor 
old dumb-bell. 

JIM 

Let us have a quick one before the next dance. 
[Mixes drink.] I had the shock of my life bringing this 
down. I got out of the taxi at Grand Central station, 
see.'' and gave the grip to the porter. Just as we got 
inside I saw a fellow looking at the bag curiously and 
following the porter. I made up my mind if he started 
to examine it I'd go straight through the gate, deny I 
owned it or ever saw the porter. 

ETTA 

How thrilling. What happened? [Taking her glass 
and sipping it.] 

JIM 

Well, you see I had to think pretty fast. 

NED 

Some effort. 

JIM 

The porter went through and the fellow followed. 
Just nodded to the man at the gate. Never showed a 
ticket or anything. I felt "goose-fleshy" all over, see? 

NED 

Sure. 

JIM 

A dozen at one hundred and fifty dollars rattling in 
the bag and the sleuth following, see? We got to the 
train. The porter stopped to ask me the number of my 
[37] 



THE NATIONAL ANTHEM 

seat. I didn't take the slightest notice of him. Just 
walked on ahead. Got on the platform of the car and 
looked back as though waiting for someone. Porter 
came up, "Leave it there," I murmured, without looking 
at him, indicating the train-platform outside the parlor- 
car. Slipped some change into his hand just in time. 
Up came the sleuth. I went in and took my seat. He 
followed. Sat just across from me. 

NED 

The dirty dog. 

ETTA 

What did you do? 

MAUD-ETHEL 

He's making it up. 

JIM 

I just sat and sat. Never even looked at him. Just 
felt he was there. When we got near Northchester I 
sauntered out on the platform. 



NED 

ETTA 



Sauntered ! Fine. 
Shut up, Ned. 

JIM 

I stood near the bag without moving or touching it. 

NED 

A trying moment. You've got me, Jim. 

JIM 

When the train stopped I got down on the platform. 

NED 

Without the "grip"!!!!??? 
[38] 



Act I: NORTHCHESTER 

JIM 

Of course! The sleuth had followed and was stand- 
ing in the doorway. 

ETTA 

I can't bear it. 

JIM 

There I stood. 

NED 

And he stood. 

MAUD-ETHEL 

They both stood. 

ETTA 

And the liquor stood. It's too thrilling ! 

JIM 

The signal was given. The train began to move. I 
jumped on the platform, grabbed the grip 

NED 

He grabbed the grip. 

JIM 

Jumped off and stood panting, the precious bag 
grasped firmly in my fingers. 

NED 

And the sleuth ? 

JIM 

Walked back into the car as the train disappeared. 

ETTA 

[Exhausted.] What nerve. 

MAUD-ETHEL, 

Heroic. 

[39] 



THE NATIONAL ANTHEM 

NED 

Nerve? I should say so. To ever tell it. Say, give 
the end at the beginning, if you ever have the cheek to 
repeat it. 

JIM 

Wellj you knew the end. Ain't you drinking it? 

[^The band starts again. They all jump up and amid 
much scratching of chairs, powdering of faces, and 
laughing chatter they go to the club-house steps. 
Arthur and Marian appear from the club-house.^ 

[Marian Hale is a buoyant, breezy, fascinating, 
spoilt young lady without a care for today or a 
thought of the morrow. Born to delight others she 
finds supreme pleasure in doing it. Withal there is 
a look in her frank, steady eyes that suggests deptha 
that have not, so far, been sounded.^ 

[Arthur Carlton, slim, tense, athletic, carries his 
twenty-four years with an air. He has great per- 
sonal magnetism and charm. Happy, fearless, 
quirotic to a fault. While the merry, laughing eyes 
attract the unthinking to the more exacting judge of 
character the lower part of the face is sadly disap- 
pointing. It betrays irresolution, over-indulgence 
and considerable latent brutality. Self-willed, un- 
controllable, potentially supremely selfish. The bal- 
ance-wheel of discipline is noticeably wanting.^ 

[No two people could be more opposite than Arthur 
and Marian. In that lies the impelling attraction 
each has for the other.} 

[40] 



Act I: NORTHCHESTER 

ETTA 

Why, Marian, where have you been? 

JIM 

I've some left. [Holding up flask to Arthur.] 

ARTHUR 

Thanks. I've just had some tea. 

[Laughs. The treo young men both laugh. Nudge 
Arthur, indicating Marian.] 

NED 

May I have this dance.'' 

MARIAN 

No, Ned. 

NED 

All right. Keep me one. 

ETTA 

Hold our table down. 

JIM 

Order a gallon of "White Rock." 

NED 

We'll have a million-dollar thirst after this dance. 

MAUD-ETHEL 

Oh, you spoonies ! 

[They all go into the club-house laughing and chat- 
ting.] 

ARTHUR 

You don't want to dance? 
[41] 



THE NATIONAL ANTHEM 

MARIAN 

No. Unless you do? 

ARTHUR 

I don't. . . . Do sit down. 

MARIAN 

In sound of the music .^ [Jazzing to music. J 

ARTHUR 

Yes. 

MARIAN 

Right. 
[Sits.] 
There. 

ARTHUR 

It's very good of you. [Looks affectionately at her.] 

MARIAN 

What is } 

ARTHUR 

Letting me see so much of you. 

MARIAN 

I like seeing you. 

ARTHUR 

Do you? 

MARIAN 

Yes. 

ARTHUR 

Really.?" 

MARIAN 

If I didn't, you can be sure of one thing — I wouldn't. 

ARTHUR 

No; I soDpose not. 

[42] 



Act I: NORTHCHESTER 

MARIAN 

Oh, you may be sure of it. 

ARTHUR 

I felt rather guilty — as though I were poaching — at 
first. 

MARIAN 

Why? 

ARTHUR 

I thought you liked Tom Carrol — at first. 

MARIAN 

I did. 

ARTHUR 

I thought so. 

MARIAN 

And I do. 

ARTHUR 

Oh? Do you? 

MARIAN 

And I always will. . . . But I like you better. 

ARTHUR 

Isn't that fine. ... I hoped you did. . . . Much 
better ? 

MARIAN 

Quite a good deal. 

ARTHUR 

Enough to some day — marry me? 

MARIAN 

Almost enough for that — some day. 

ARTHUR 

Oh, Marian. 

[43] 



THE NATIONAL ANTHEM 

MARIAN 

Almost! 

ARTHUR 

[^Discouraged.] But not quite? 

MARIAN 

I might — quite — if 

ARTHUR 

If what? [Eagerly; despondently.'] 

MARIAN 

By-and-bye. 

ARTHUR 

No. Tell me now. 

MARIAN 

Not just now, Arthur. 

ARTHUR 

All right. ... I hate "If's". . . . You will tell me.'' 

MARIAN 

Oh, yes. I'll tell you. 

ARTHUR 

Fancy you liking me as much as that ! . . . Why ? 

MARIAN 

[Looking shyly at him.] You're such good fun. It's 
jolly being with you. 

ARTHUR 

[His eyes dancing.] Is it.'' 

MARIAN 

Jolly. 

[44] 



Act I: NORTHCHESTER 

ARTHUR 

That's the way I feel about you. I feel I want to 
have you around always. . . . Feel that way about me? 

, MARIAN 

Yes. 

ARTHUR 

All the time? 

MARIAN 

Most of the time. You're a wonderful partner at 
tennis. You dance better than anyone I know and sit a 
horse like a soldier. . . . And you're nice to Dad. 

ARTHUR 

I'm crazy about him. 

MARIAN 

You're always light-hearted and irresponsible. Will- 
ing to get down on all-fours and play games with any- 
one. You're a perfect companion, Arthur. 

ARTHUR 

You don't know how conceited you make me. 

MARIAN 

That's another thing I like you for. 

ARTHUR 

Conceit ? 

MARIAN 

Because you're not. 

ARTHUR 

I never had any cause to be, until now. But if I were 
to say "Marian, will you be my wife?" and you said 
"Yes, Arthur, I will" I'd feel ten feet taller and a heap 
bigger. 

[45] 



THE NATIONAL ANTHEM 

MARIAN 

Say it. 

ARTHUR 

Marian^ will you be my wife? 

MARIAN 

Yes, Arthur, I will. 

ARTHUR 

[Rising to his toes and expanding his chest.l Oh! I 
feel great! If we weren't out here I'd embrace you. 

[Arthur makes a movement to embrace her when the 
Waiter enters, crosses over to table, clears away 
glasses Carlton and Hale used, and carries them 
into club-house. Arthur whips out a flask from 
his hip-pocket, picks up one of the clean glasses, 
pours some liquor into it and mineral-water, holds 
up the glass."] 

ARTHUR 

To the union of Arthur and Marian. May they be as 
jolly companions married as they are single. [Drinks.] 

MARIAN 

Now I'm going to tell you the "If." [He pauses, 
lowers the glass and looks at her.] You must make me 
one promise. Only one. [Points to glass.^ That. . . . 
It won't do, Arthur. 

ARTHUR 

I'll stop it altogether, if you say so. Say, "Arthur, 
I want you never to drink again" and I'll say "Marian ! 
I'll throw this glass away and never, never, never drink 
any more. So help me !" Say it ! . . . Come ! 

[46] 



Act I: NORTHCHESTER 

MARIAN 

I don't want you to make any such promise. To be 
either a hard-drinker or a total-abstainer shows lack of 
character. To take it occasionally is perfectly all right. 
Perfectly. It makes you happ}?^, jolly, agreeable. But 
when 3^ou take more than j^ou should you seem to be a 
different Arthur from the one I love. . . . And you've 
been doing it pretty often of late. 

ARTHUR 

I know. . . . You're quite right. . . . Disgusting of 
me. . . . That's the last. [Throzcs remainder of liquor 
out of glass.^ Until we're married. 

MARIAN 

Oh! Then ^-ou'll really begin.'' 

ARTHUR 

No. No. Of course not. . . . Just at the wedding? 
Eh.? 

MARIAN 

I don't want you to stop. Take it as my father does. 
He enjoys it but never takes so much that he makes 
himself a nuisance. 

ARTHUR 

And / have .? 

MARIAN 

Yes. You have. And it's hurt me and made me 
ashamed. The other night at that Inn I felt I never 
wanted to go out with you again. I was miserable. . . . 
But in the morning I forgave you. You were plucky 
and the only one who defended me. . . . But it was 
[47] 



THE NATIONAL ANTHEM 

brutal the way you attacked that man. It wasn't you. 
It was some terrible, murderous potentiality in you. 
\^Shivers.'\ It wasn't you. 

ARTHUR 

[Gloomily.'] I know. I xvas VERY [Breahs 

MARIAN 

Why can't you take a little and stop? 

ARTHUR 

I don't know. I began too young, I suppose. We all 
drank at college. [Laughs boyishly.] The great game 
was to take enough to make your head go round one way, 
then go to an amusement park and get on a merry-go- 
round going tlie other. Straighten it out. It seemed 
the manly thing to do. And no one interfered. They 
seemed to expect it of us. Until they wrote home to 
take me away. 

MARIAN 

Didn't your father interfere.'' 

ARTHUR 

[Disdainfully.] Father! He'd like me to drink my- 
self to death. Then he'd be rid of me. 

MARIAN 

[Shoched.] Arthur! 

ARTHUR 

It's so. He despises me. Always has. 

MARIAN 

Why.> 

[48] 



Act I: NORTHCHESTER 

ARTHUR 

I didn't come up to his expectations. 

MARIAN 

That's no reason for despising you. 

ARTHUR 

Well, I do him. So it's a stand-off. He thinks only 
of his business. Never known him to enjoy himself like 
your father does. When I didn't string along and be 
enthusiastic about adding up figures in the office and 
refused to learn how to handle basic pig-iron he just 
dropped me. Cut me out. Wliy, there have been times 
at home when he hasn't spoken a dozen words to me in 
a month. And they were so bitter they sizzled on his 
tongue. 

MARIAN 

Didn't he bring you up to do anything? 

ARTHUR 

No. When I showed no interest in "basic-pig" he lost 
all interest in me. 

MARIAN 

And you didn't make yourself interested in anything? 

ARTHUR 

Not much. You see, Marian, I haven't any brain 
really. 

MARIAN 

You've just amused yourself and been contented with 
that? 

[49] 



THE NATIONAL ANTHEM 

ARTHUR 

[Siillenly.'l I guess that about lets me out. What 
can I do? I hate Law. Medicine makes me sick. 
Politics too messy. I'd hate being inquired into. And 
business is just an unnecessary drudge. What's there to 
do? America's too small for a young man. I want to 
travel. See other countries. We're too cramped here. 
Our lives are so little. So — nothing. . . . \^Suddenly.^ 
Let us marry and go all over the world. 

MARIAN 

Can we? 

ARTHUR 

Your father wouldn't mind. 

MARIAN 

Would yours? 

ARTHUR 

I wouldn't ask him. I'd just go. I can get all I 
want from my mother and I have a bit of my own from 
a grandmother. Come on. Let's. 

MARIAN 

It would be exciting. 

ARTHUR 

There's an awful lot to see. We could stay away 
years. 

MARIAN 

Oh, no. Not years. 

ARTHUR 

Well — a year. One year. Get away from all this 
half-living. Getting arrested is an event ! . . . Punch- 
ing a sucker's head the last word in excitement. We are 

[50] 



Act I: NORTHCHESTER 

a cheap, provincial lot. . . . Let's go away to the older 
countries and learn how to live. 

MARIAN 

I'll talk it over at home. 

ARTHUR 

[Urgently.] They'll let you do anything you want. 

MARIAN 

Still it's nice to talk it over at home just the same. 

ARTHUR 

I may find something big I can do. Fery big. 

MARIAN 

[Smiling.] Enormous! [Moves body, head and 
fingers to the j ass-music] 

ARTHUR 

How small we must seem to other countries ! 

MARIAN 

I wonder if we do.'' 

ARTHUR 

Look at all the men like my father. Grubbing all 
their lives. Grinding. Piling up money. 

MARIAN 

You have the fun of spending it. 

ARTHUR 

We can do all kinds of things, you and I. Become 
real powers. You can buy anything with money abroad. 
[51] 



THE NATIONAL ANTHEM 

MARIAX 

But we'll come back? 

ARTHUR 

Oh, I suppose so. Some time. If we can stand it 
and you really wanted to. 

MARIAN 

I would want to. You see — I like our country. And 
I think it very vast. I don't know how we seem to for- 
eigners, but I can't help feeling they don't think us so 
very insignificant; that they're a little bit afraid of us 
and they like us on their side in time of trouble. ... I 
think the farther you get away from the United States 
the more you'll realize how really big we are. 

ARTHUR 

Oh, yes. Acres of dirt. I mean the people. 

MARIAN 

So do I. This doesn't represent America, Arthur. 
You don't know your own country. / don't. But I want 
to know it. See it. Feel its power. Because — I love it. 

ARTHUR 

Oh, as to that, we all do. But you can't close your 
eyes to our provincialism. 

MARIAN 

Then let's open our minds to all that isn't provincial. 
It's the only country I know. The only country I'm 
fond of. I want to know it fully, completely. ... It 
•would be fun seeing the others first. "Who knows 
America that only America knows?" 

[52] 



Act I: NORTHCHESTER 

ARTHUR 

We'll begin with Paris. 

MARIAN 

You are provincial, [^Laughs. '\ Just the same sort of 
thing all over again. Games, jazz, drinking — not with 
French people either, Arthur, but with our own kind. 
[^Reproachfully.'] Arthur! [Laughs.] 

ARTHUR 

Well, anywhere you like. I'll give you a map of the 
world and you stick in little flags wherever you want 
to go. 

MARIAN 

That would be wonderful. [Seeing that he is dejected 
about Paris.] We might begin with Paris. 

ARTHUR 

[Brightening; trying not to be too enthusiastic] Just 
as you like. 

MARIAN 

And then all through France among the peasants. 

ARTHUR 

[Dejected again.] Anywhere! Anywhere at all! So 
long as you are with me. It's wonderful of you to prom- 
ise to marry me. ... I love you, Marian. 

MARIAN 

And I love you, Arthur. 

ARTHUR 

I'll do everything I can to make a "GO" of it. 
[53] 



THE NATIONAL ANTHEM 

MARIAN 

So will I. 

ARTHUR 

And as to this [Touching glass.^ I promise you, 

across my heart, nothing until after we're married. And 
after that just what you think is right. 

[Tom Carrol, a young, handsome, determined-looking 
man of twenty-eight, comes out from the club- 
house. He is in a traveling-suit and just off the 
train. Marian greets him wa-rmly although she is 
a little embarrassed. Arthur rather shyly and 
distantly.] 

MARIAN 

[Shaking his hand.] We thought you'd forgotten us. 

ARTHUR 

Hello, Tom. [Shakes his hand then looks away.] 



I've been tied up in town. Weeks of it. In all the 
heat. I'm onl}'^ down now for the week-end. But I've 
got what I've been trying for so long. I've convinced 
them at last I'm indispensable. . . . Marian! They've 
taken me into the firm. Isn't that fine, Arthur.^ I'm to 
be their representative abroad. 

ARTHUR 

Abroad? 

MARIAN 

I'm so glad. 

TOM 

I start in a few weeks. London, Paris, Rome, Ma- 
[54] 



Act I: NORTHCHESTER 

drid, Egypt, India. All the places I've always wanted 
to go to. Isn't it lucl y.'' 



Very. 

ARTHUR 

I should say so. 

TOM 

So I [Turning to Arthur.] Do you mind if I 

have a few moments alone with Marian.'' ... Or am I 
interrupting? 

ARTHUR 

[Half -angrily.] Well, as a matter of fact 

MARIAN 

Not at all, Tom. [Arthur looks savagely at 
Marian.] Of course we were going in to dance. 

TOM 

There'll be many more. Let me have just this one. 
Here. Will you? 

MARIAN 

Why of course. But 

TOM 

Please do. 

ARTHUR 

[Angrily.'\ Wouldn't another time ? 



TOM 

Just a few minutes. If you don't mind very much. 

ARTHUR 

[Looks again at Marian who makes signs for him to 
[55] 



THE NATIONAL ANTHEM 

go.] Oh! All right. I'll be just inside. Mind — only 
a few minutes. 

TOM 

That's all. I'll call you. 

[Arthur glares savagely at Tom's innocent hack and 
goes into the club-house.] 

TOM 

It is nice seeing you again. Like this. I've missed 
you SO much this summer. So much. But it's been 
worth it. Because it's made it possible for me to do 
something that was out of the question last year. . . . 
[Hesitates.] I'm not very good at saying things — when 
I feel a great deal. . . . 1 do now. Can you guess ? 

MARIAN 

[7n distress.] Oh, Tom! Tom! 

TOM 

This turn of luck has changed everything for me. 
Everything. I don't have to struggle any more. Things 
have been made easy. And so — Marian — at last I can 
— I want you to 

MARIAN 

Don't, Tom. Don't. 

TOM 

Why? 

MARIAN 

I have just promised Arthur I'll marry him. 

TOM 

[Aghast, sits back in chair.] Arthur! 
[56]' 



Act I: NORTHCHESTER 

MARIAN 

Yes. 

TOM 

[Under his breath.'] My God! [He goes perfectly 
limp-l Arthur! God! 

MARIAN 

Don't take it like that, Tom. 

TOM 

I never thought. ... It seemed — you cared for me 
— a few months ago. 

MARIAN 

I did. Very, very much. I do now. I always will 
care for you, Tom. But not in the same way I care for 
Arthur. He seems to need me. You are so self-con- 
tained. Your life is in your hands. You know what 
to do with it. Arthur — seems to need me. ... I am so 
sorry for you, Tom. 

TOM 

If I'd asked you six months ago — would you have .'' 

MARIAN 

Yes — I would. 

TOM 

What a fool! What a hesitating, doubting fool I've 
been ! 

MARIAN 

You mustn't feel that way, Tom. Now that I know 
liovv much I love Arthur I know what I felt for you was 
not quite the same. . . . Not the same kind of love. . . . 
And it would have been dreadful for us both if I found 
out afterward I loved him more than I did you. 
Wouldn't it? 

[57] 



THE NATIONAL ANTHEM 

TOM 

[Clenching his hands and heating them together,^ 
What a fool! . . . Arthur! 

MARIAN 

You see we like the same things. Games, dancing, 
amusing people around us. Jokes about everything. 
Care free. Irresponsible. 

TOM 

But xoe liked fun together, games, dancing. The same 
things, Marian. 

MARIAN 

[In distress.'] I know. I'm just trying to excuse 
myself. Oh, I'm so sorry you ever liked me. That I 
let you like me. . . . And I did. I know I did. It 
makes me feel so cruel. . . . But we can't help being 
cruel when we love, can we, Tom.'' 

TOM 

No, I suppose we can't. Love seems to have no code. 
We just love and that's all there is to it. And I'll 
always love you. Always. I feel rather stunned. I 
came here so full of my news. Able at last to ask you. 
I thought 3^ou mightn't accept me — just at first. But 
I'd have waited — I'd have waited. . . . Now all that's 
gone. . . . Arthur! 

MARIAN 

[Starts ai his contemptuous tone, looks curiously at 
him.^ Don't you like him? 

TOM 

You're going to marry him. That's enough. What 

does it matter whether I ? Shall I call him back? 

[58] 



Act I: NORTHCHESTER 

MARIAN 

Do let us be pals as we used to be. . . . You'll hurt 
me if you don't. . . . Because I like you, Tom, very, 
very much. . . . Let's be pals. . . . Will you? 

TOM 

All right, Marian, 

MARIAN 

And don't think too badly of Arthur. . . . He's really 
splendid. . . . And he loves me. . . . Don't think badly 
of him. Will you.'' 

TOM 

I won't, Marian. 

ARTHUR 

[Hurries down the steps and goes to them.'\ My 
father's here. 

MARIAN 

Oh.? 

ARTHUR 

He saw me. He's with your father. They're coming 
here. 

MARIAN 

I'm so glad. Arthur — I've told Tom. . . . And he 
congratulates us both. Don't you? 

TOM 

Yes. Of course. 

ARTHUR 

Thanks, Tom. 

TOM 

I hope you'll both be 

[Carlton followed hy Hale comes quichly down the 

steps. Tom toices advantage of the interruption to 

go into the club-house.] 
[59] 



THE NATIONAL ANTHEM 

CARLTON 

[To Arthur.] I've been looking for you everywhere. 

ARTHUR 

You can't have looked very hard. 

MARIAN 

How do you do, Mr. Carlton. 

CARLTON 

[Shaking hands very quickly with Aer.] How do you 
do. Miss Hale. 

HALE 

Dance this with your father? 

MARIAN 

I want to talk to Mr. Carlton. 

CARLTON 

He wants to talk to Arthur. Come on. Don't be 
ashamed of me. 

MARIAN 

Ashamed? Why, you're the best dancer in the room. 

HALE 

Ha ! [Laughs.l 

MARIAN 

For your age and weight. 

HALE 

Don't qualify it! Don't qualify it! I'm as young as 

the next man and [spanning his •waist'\ a perfect 

[60] 



Act I: NORTHCHESTER 

MARIAN 

Forty-six. — I'm going to jazz with this young man, 
Arthur^ and then I want to talk with your father. Come 
on. [They jazz together toward the club-house, indicat- 
ing Hale's stomach.] It's like dancing with someone 
who's in Europe. 

HALE 

Here^ Marian! [They sing snatch of "Daddy" as 
they disappear, dancing into the club-house.^ 

CARLTON 

[Looking grimly at his son.] Well? 

ARTHUR 

[Sullenly.] Well.? 

CARLTON 

You don't seem very glad to see me. 

ARTHUR 

I'm not. 

CARLTON 

No. You're not. 

ARTHUR 

I never am^ if it comes to that. 

CARLTON 

I guess that's about what it comes to. . . , You've 
been making a fine exhibition of yourself. 

ARTHUR 

Have I .'' 

CARLTON 

What do you call it.^* 

ARTHUR 

I don't call it anything. I leave that to you'»-! 
[61] 



THE NATIONAL ANTHEM 

CARLTON 

Well, I call it pretty damn disgraceful. Fined twice. 
Driving around drunk. 

ARTHUR 

[Hotli/.1 I wasn't. 

CARLTON 

Thrown out of a dancing-dive — drunk! 

ARTHUR 

That's a lie. 

CARLTON 

Here. Cut that out. 

ARTHUR 

I wasn't drunk any of those times. 

CARLTON 

You must have been damn near it then. 

ARTHUR 

Who told you? 

CARLTON 

Your mother. 

ARTHUR 

Who told her.?* 

CARLTON 

Some of your club friends. . . . You know they're 
about "fed-up" with you. 

ARTHUR 

Who are "fed-up" with me.'' 

CARLTON 

The decent people around here. 

ARTHUR 

They haven't told me so. 

[62] 



Act I: NORTHCHESTER 

CARLTON 

They shouldn't need to. . . . You shouldn't have to 
be thrown out everywhere. College. Road-house. Now 
a club. 

ARTHUR 

I don't believe it. 

CARLTON 

See here, you've said that once before. Say it again 
and I'll twist yer neck, ye young hound. . . . I tell you 
it is so! ... I don't care what they do to you. Your 
mother does. More fool she. . . . She wants you home. 
And I've come to fetch you. 

ARTHUR 

[Aghast.] Home ! 

CARLTON 

[Takes out watch.] There's a train in — let me see — 
5.15 — [Fingers on dial tracing figures] in fifty minutes. 
So you have time for a jazz, a few more drinks, then 
change into something you can travel in. . . . I'll wait 
here. 

ARTHUR 

I can't go. 

CARLTON 

Oh, yes, you can. And what's more — you're going. 

ARTHUR 

[Distractedly.] I tell you I can't. . . . Not now . . . 
I'll come later. . . . Next week — for a day or two — I 
can't now. 

CARLTON 

I'm not used to telling people to do the same thing 
twice. And I'm not going to begin with you. 
[63] 



THE NATIONAL ANTHEM 

ARTHUR 

I tell you I can't — and what's more I won't. 

CARLTON 

Do you want me to make an example of you before 
your club friends? Because that's what I'm going to do 
if you're not very careful. I'll drag you by the collar 
every foot of the way to the depot, starting from this 
lawn. 

ARTHUR 

[Almost crying with disappointment and rage.'\ I 
can't go away now. 

CARLTON 

You're going home and you're not coming back here 
again. You've disgraced us enough. . . . Don't you 

look at me like that — why I [Suddenly takes him 

by the wrist and turns it.] 

ARTHUR 

[Screaming with pain.] Don't. By God I'll kill you. 
Don't. [Struggles fiercely — sinks dowm on one knee.] 
Oh! . . . Don't! 

[Carlton suddenly releases him, throws him away 
from him. Arthur springs up on the defensive 
wringing his injured wrist.] 

CARLTON 

[Sneering and smiling malignantly.] Golf and ten- 
nis-muscles, eh? Pap! That's what they are. Pap. 
Mine were moulded in a foundry. As a laborer. . . . 
Don't forget that when you're dashing around in a ten- 

[64] 



Act I: NORTHCHESTER 

thousand-dollar car — drunk. You're the son of a la- 
borer. Keep it in mind. You loafer! 

[The music has stopped. Chatter of voices is heard 
and figures can be seen moving near the club-house 

windows.^ 

ARTHUR 

[Excitedly; eagerly; chattering with wounded 
vanity.'] Don't say anything before them. I'll change. 
[Indicating his clothes.] 

CARLTON 

If you're not back here in twenty minutes I'll fetch 
you. 

ARTHUR 

All right. I'll— I'll 

[Runs full tilt into the side entrance to the club-house. 
Hale and Marian come through the center win- 
dows. They are both laughing happily. She is on 
his arm. As they come down the steps they see 
Carlton. Hale instantly takes Marian in his 
arms and they jazz over to the angry and disgusted 
parent.] 

MARIAN 

[Disengaging herself, breathlessly.'] Where's Ar- 
thur? 

CARLTON 

Gone in to change. 

MARIAN 

Change what? 

CARLTON 

Only his clothes. 

[65] 



THE NATIONAL ANTHEM 

MARIAN 

Why? 

CARLTON 

We're going in by the 5.15. 

MARIAN 

In? 

CARLTON 

Home. Bar Harbor. 

MARIAN 

Oh! 

CARLTON 

His mother wants him. 

MARIAN 

Is she ill? 

CARLTON 

Worrying. 

Marian 
What a shame. [To her father.'] Isn't it? 

HALE 

Tell him your news. Go on. [To Carlton.] Got 
a little surprise for you, unless Arthur's told you already. 

MARIAN 

Has he? 

CARLTON 

What? 

MARIAN 

About our engagement? 

CARLTON 

No. He didn't tell me. 

MARIAN 

Well, we are engaged. 

[66] 



Act I: NORTHCHESTER 

CARLTON 

That SO? [Grimli/.l Since when? 

MARIAN 

[Looking at her wrist watch.'] Since eighteen minutes 
and twenty-three seconds. 

HALE 

[Laughing loudly as he watches Carlton's face.ll I 
warned you. 

CARLTON 

He didn't say a word about it. 

HALE 

Perhaps you didn't give him a chance. 

CARLTON 

Now I come to think about it I didn't. [To Hale.] 
Well? What have you to say about it? 

HALE 

Me? Tickled to death. [Laughing again.] You 
know what I think about Arthur. 

CARLTON 

I don't fancy your daughter knows what I think about 
him. [To Marian.] Do you? 

MARIAN 

No. What do you? 

CARLTON 

If you were my daughter I'd rather see you marry 
the man who sweeps up the tennis-court than Arthur. 

MARIAN 

But I'm not your daughter, Mr. Carlton, and I love 
Arthur and I'm going to marry him. 

[r>7] 



THE NATIONAL ANTHEM 

CARLTON 

Well, you've got courage anyway. And you seem to 
know your own mind too. 

MARIAN 

I do. 

CARLTON 

You'll need both when you get Arthur on your hands. 
I've had him for twenty-four years. So I know. 

MARIAN 

It seems to have sat pretty lightly on you — for twenty- 
four years. 

CARLTON 

Oh, no, it hasn't. You don't suppose I take any pride 
in a son like Arthur? 

MARIAN 

It might have been better for you both if you had, 
Mr. Carlton. 

CARLTON 

See here, my girl. I like you too well to see you 
throw yourself away on my drunken good-for-nothing. 
Don't do it. 

MARIAN 

After all, Mr. Carlton, if he is, which I don't admit, 
a good-for-nothing, whose fault is it? You've had the 
shaping and making of him for twenty-four years. You 
may be a splendid man of affairs. You must be. But 
you might have given some of the intelligence you've 
used in building up your business to building up your 
son's character. 

[68] 



Act I: NORTHCHESTER 

CARLTON 

He hasn't any to build. 

MARIAN 

Well, I differ about that. ... If, after we marry, 
you can still call him a drunken-good-for-nothing blame 
it on me. Up to now, whatever your son's weaknesses 
may be, the blame is mostly yours. 

CARLTON 

All right. Mine if you like. 

MARIAN 

You know responsibility doesn't end with paying 
one's son's way through school, college and afterwards. 
That makes for good-for-nothings. If you let a boy see 
you have no pride or faith in him, then sooner or later 
he'll justify your want of faith. You're going to change 
your opinion of Arthur, Mr. Carlton. 

CARLTON 

That sounds fine. Fine. . . . Now I want to tell you 
what you're up against so that you go into the bargain 
with your eyes open. 

MARIAN 

You don't have to tell me he was sent down from 
college for drunkenness. I know it. He told me. But 
you may be interested to know that from today he has 
promised me to never drink too much again. 

CARLTON 

Fine ! Fine ! 

MARIAN 

Did he ever promise you that? 
[69] 



THE NATIONAL ANTHEM 

CARLTON 

About once a month. Oftener if he was in debt. 

MARIAN 

He'll keep the promise he's made me. 

CARLTON 

Maybe you're right. I hope you are. If you cure 
him you'll be the first. I've seen more than you have 
of men and beasts and there's precious little difference 
between them when you get down to tin-tacks. If they're 
just naturally vicious nothing this side of the grave 
will get it out of them. You can beat 'em and pet 'em 
and get on their good side and have them all straightened 
out fine as silk and without a second's warning back they 
go to their old tricks. Seen it in beasts. Seen it in 
men. Arthur's one of them. He's naturally vicious. 

MARIAN 

He's not. 

CARLTON 

Ever seen him ride a horse? 

MARIAN 

Often. 

CARLTON 

Ever looked at its mouth when he's done riding it? 

MARIAN 

No. Why? 

CARLTON 

Look at it next time. Ever see him with a dog? 
There isn't a dog at home that will go near him. And 
the horses come back to the stables sweaty and bloody 

[70] 



Act I: NORTHCHESTER 

and no good for days. . . . Watch a man with animals 
if you want to get a line on him. . , . They'd treat hu- 
man beings the same. . . . Ever see him in one of his 
tempers .'* 

MARIAN 

[^Laughs.l Often. I love his tempers. They're quick 
and loud and devastating . . . and over in two seconds. 
They're very picturesque. And he's never so charming 
as when he's asking to be forgiven after one of them. 

CARLTON 

Fine. Fine. You've got him right, I can see that. 

MARIAN 

Why, at tennis, the other day, — remember Father.'' 
— the umpire called three balls running, out, that were 
inches in and he flared up, swore a mighty swear and 
threw his racquet right across the court into the bay. 
Then in a second it was all over. They brought him 
a new racquet and he ran out the set and the match, 
advanced to shake hands with his opponent, who walked 
furiously off the court. Arthur muttered "Damn poor 
sportsman" and we all shrieked. 

HALE 

The high-light of the afternoon. No harm in it. 
None at all. 

CARLTON - 

[Looks at Hale grimly.] No, of course not. [To 
Marian.] If you hapiDcned to be the subject of one of 
those picturesque, devastating outbursts he'd treat you 
[71] 



THE NATIONAL ANTHEM 

like the racquet and they wouldn't be able to bring him 
another and go on with the game. 

MARIAN 

You don't understand him. I do. He's grown physi- 
cally but not mentally. That's what high-priced schools 
do for boys when their fathers take no interest in them. 
They develop their bodies, mostly. He's been traveling 
with a swift set who mistake noise for having a joyous 
time. It's only a phase, iMr. Carlton. 

HALE 

Sure. Not the slightest bit of 

CARLTON 

Harm? 

MARIAN 

Of course not. He adores me and I do him. I'm 
going to make him all over again into a fine man. You 
gave in. I'm going to stick. There are too few Arthurs. 
Too few picturesque, devastating men-children of twen- 
ty-four. They are the bright spots in this grey old 
world. 

CARLTON 

Oh, they are. No mistake about that. They're the 
bright-spots all right. I've seen a lot of picturesque, de- 
vastating drunkards of twenty-four. Especially when 
I went to take Arthur away. He was right in the middle 
of them. Wait till they're fort}', if they ever get that 
far. Not so picturesque maybe, but damned devastated. 
. . . Anyway you're going into it with your eyes open. 

MARIAN 

Wide open. Then you have no objection to me? 
[72] 



Act I: NORTHCHESTER 

CARLTON 

I'm a bit afraid for you, that's all. 

MARIAN 

Don't be. I'll save Arthur. 

CARLTON 

I see. The maternal instinct. That's how rotters like 
Arthur get hold of nice girls like you. The maternal 
instinct. Nature put the ball-and-chain on you all right 
when they gave you that. . . . Too bad you didn't pick 
out a decent, clean fellow instead of a mess you've got 
to put together. 

MARIAN 

You're cruel ! Cruel ! I wouldn't try to save you. 

You're so hard, so un-charming ! Arthur's — Arthur's 

[^Breaks off in anger and tears.^ 

CARLTON 

Arthur's 24, has his hair and his figure. That's the 
only difference, my dear. 

HALE 

Oh, come, come, Marian. Let's all be happy about this. 

MARIAN 

[^Gasping.'] I — am — happy. But — he — frightens 
me. . . .It's not natural to hate one's son like that. 
To say such cruel things. 

HALE 

[Soothing her.] There! There! Come, John, let's 
all be happy and hopeful about it. 
[73] 



THE NATIONAL ANTHEM 

CARLTON 

I'm not so happy or hoijeful. Marian, now that you 
blame me for being responsible for Arthur's want of 
character, what has your father done with making yours? 

MARIAN 

He's understood me; humoured me; kept a loose-rein 
on me so that I've never been conscious of it. 

CARLTON 

[Slowly and firmly. '\ You try to ride Arthur on a 
loose rein and you'll break your neck. 

MARIAN 

It's terrible to hear you talk of your son like that. 
You're so cruel. . . . Why can't you let him stay — just 
for tonight? . . . It's our engagement day. . . . Please 
don't take him away, 

[Carlton shakes his head.] 

HALE 

Come, be a sport, John. 

CARLTON 

I'm not a sport, Reuben, and he's going. 

MARIAN 

I know now why Arthur hates you. You've treated 
him like that ever since he was a child. 

CARLTON 

I don't care how much he hates me. But his mother 
doesn't hate me and I won't have her worried for a 
hundred pups like him. 

[74] 



Act I: NORTHCHESTER 

HALE 

Now, where's the harm ? 

MARIAN 

I shall tell Arthur not to go. 

CARLTON 

I wouldn't do that if I were you, Marian. He'd want 
to obey you and he's got to me. I've got a temper, too. 
And he knows it. I'd throw him into the bay just as 
he did the racquet, if he asked for it. 

MARIAN 

[^Quietly and distinctly ,~\ He will not go with you, 
Mr. Carlton. 

CARLTON 

He'll be out here dressed to travel with me in less 
than five minutes. Stay here and see who he'll obey. 

MARIAN 

Very well, Mr. Carlton, I'll stay. 

[The hand has stopped. Maud-Ethel, Etta, Jim 
and Ned come down the steps and go towards their 
table, chatting and laughing. The Waiter brings 
fresh glasses and clears away the old ones, has 
check signed by Ned, then sees Hale beckoning 
him, crosses over to table where the two men were 
standing and takes order from Hale. Asks Carl- 
ton who shakes his head, exits into club-house. 
Whilst this is being done Etta has called Marian 
over to her. They start talking, then walk arm in 
arm to the club-house steps. Marian goes into the 
[75] 



THE NATIONAL ANTHEM 

club-house. Etta goes back to her friends. Carl- 
ton has sunk heavily into a chair, sat back and 
lighted a cigar. Hale looks at him, laughs, starts 
to speak, changes his mind, takes out a pipe, lights 
it, and smokes it with great enjoyment. Then takes 
out his watch and watches the minutes passing, now 
and again glancing at Carlton with a humorous 
twinkle in his eye.] 

MAUD-ETHEL 

What's up with Arthur? 

ETTA 

Don't look now. That's his father over there. 

[The other three turn at once end look at Carlton, 
He happens to be looking in their direction and 
scowls at them. Hale beams at them. They in- 
stantly look away.] 

Stupid. I told you not to! 

[They look at each other meaningly. Jim whistles, 
a low, long plaintive whistle. Ned imitates Carl- 
ton's scowl and his determined manner of sitting in 
his chair. Maud-Ethel shows the whites of her 
eyes and brings her fingers together as though 
praying. The txvo young men mix and pass refresh- 
ments during the following.] 

MAUD-ETHEL 

Why has Arthur changed? Isn't he going to dance 
anymore ? 

ETTA 

Don't know. He just asked me, looking as black and 
[76] 



Act I: NORTHCHESTER 

angry as that old fuss looks over there, to ask Marian 
quietly, very quietly, to go into the club-house and meet 
him in the little room off the club-office. 

JIM 

Bet there's been a row. 

NED 

Have half your bet, if you get any takers. 

MAUD-ETHEL 

Fathers ought to be barred from clubs. 

ETTA 

Not Marian's. 

MAUD-ETHEL 

Well, all the others, including mine. 

JIM 

I second that. 

NED 

Carried. 

MAUD-ETHEL 

And all mothers, barring none! 

JIM 

Object. 

NED 

Sustained. I vote for the young mothers. Some of 
them are smarter than flappers. 

MAUD-ETHEL 

Married people should have clubs of their own. 

JIM 

Where would you get your scandal from.'' I know 
[77] 



THE NATIONAL ANTHEM 

a good story about a young mother. There was a young 
mother who had a 

ETTA 

Sshh ! Not so loud. He's listening. 
\^They all look at Carlton, then giggling and whis- 
pering, exeunt into the club-house.^ 

HALE 

What's become of Marian? 





CARLTON 


Gone in to tell him not to go. 




HALE 


Think so.? 






CARLTONT 


Sure. 






HALE 


Who'll he obey? 






CARLTON 


Me. 






HALE 


Think so? 






CARLTON 


Sure. 





HALE 

Why not let them have this evening together anyway? 

CARLTON 



No. 

Just cranky? 

That's it. 

It's not my way. 



HALE 

CARLTON 

HALE 

[78] 



Act I: NORTHCHESTER 

CARLTON 

It's mine. 

HALE 

That's looking for trouble. I dodge it. 

CARLTON 

He'll have the trouble. He's not going to bluff me. 

HALE 

Suppose you do carry him off. What good'll it do 
you? 

CARLTON 

Do what I set out to do. Done it all my life. 

HALE 

Never think of the other fellow? 

CARLTON 

Never, 

HALE 

You'll lose Arthur altogether that way. 

CARLTON 

I wish to God I could. 

HALE 

Well, I wouldn't like to lose Marian, no matter what 
happened. We're pals, Marian and I, in spite of our 
awkward relationship. 

CARLTON 

You've got a real woman for a child. I've got a — 
Oh, quit 

HALE 

I wish you could look at it same as I do. If there 
was any kick coming I should be the one to have it. 
[79] 



THE NATIONAL ANTHEM 

CARLTON 

I don't care about him being engaged or marrying. 
It isn't that. [Pounding table. '\ But when it comes 
to pitting his will against mine one has to give way 
and it won't be me. 

[The Waiter comes from the club-house, hands Hale 
a letter and goes back to the club-house. Hale 
reads the letter; his broxcs knit; he gives an ejacu- 
lation; then he laughs gaily.^ 

HALE 

John, you won't take him to Bar Harbor tonight. 
He's gone. 

CARLTON 

Gone? Where. 

HALE 

[Reads letter.] "Dear Dad, Arthur has obeyed me. 
By the time you get this we will be speeding fifty 
miles an hour on a loose rein to the State of Connecticut. 
There we will be married. I will phone you after the 
ceremony and we will all dine together and you can 
give us your blessing. We are sorry to do it this way but 
Mr. Carlton was so unreasonable what else could we 
do? Give him our love. Till tonight. Daddy dear. 
Your loving, dutiful and obedient daughter, 

Marian." 

[Carlton makes an impulsive movement.'] 

HALE 

You're not going to try and stop 'em? Nothing silly 
like that, John? 

[80] 



Act I: NORTHCHESTER 

CARLTON 

Stop 'em! Stop 'em! [Laughs.'] 

Why should I ? That's for i/ou to do if you want to. 
I've got him off my hands for good. That's the end 
of my chapter. The next will be at Marian's. Poor 
Marian. 

HALE 

Join us at dinner tonight.'' 

CARLTON 

No, thank ye. I'll carry the good news to his mother. 
Good-bye, Reuben. 

HALE 

Good-bye, John. Cheer up. 

CARLTON 

Sure I will. I hope you're right, Reuben — that no 
harm will come of it. [Goes axcay quickly.] 

[The band flares up suddenly into a spirited dance. 
Hale brightens at the delightful discord and smil- 
ing contentedly, humming the tune, he leisurely 
goes into the club-house.] 

THE END OF ACT I 



[81] 



Act II: NEW YORK 

A charmingly furnished "Rest-Room" connected with a 
private hall-room in a fashianable New York hotel. 
Through the closed folding-doors can be heard spirited 
and delightful dance-music mingled with the chatter 
of happy voices and joyous laughter. Tom Carrol 
is moving restlessly and nervously about the room. 
The sounds seem to distract him. There is evidently 
no gaiety in his thoughts. In from the pas ie comes 
a tall, slender, distinguished-looking youi lady of 
twenty-six. She has the authority of manner and 
the quality of voice of one accustomed to self-disci- 
pline and who has found in a voca.tion the outlet a 
woman needs for self -development. Madeleine 
Trent is one of the recent actresses who have en- 
deared themselves to the less jaded of the New York 
theatre-goers. She greets Tom warmly. He brightens 
at her greeting, and momentarily forgets his brooding 
thonghts. 

TOM 

[Smiling with genuine pleasure.'] How do you do^ 
Miss Trent? I saw your play tonight. 

MADELEINE 

Did you? How nice! Like it? 

TOM 

Very much. And you, if I may say so. 
[82] 



Act 11: NEW YORK 

MADELEINE 

Oh — do say it. I love to hear nice things. One 
sometimes reads such horrid ones. 

TOM 

Not on you. . . . Surely? 

MADELEINE 

Why not? There's no serum one can take against 
them. ... So Marian and Arthur are off? 

TOM 

[Uneasily.^ Yes. 

MADELEINE 

I'd like to have gone to the boat but I have a matinee 
tomorrow. How jolly for them. . . . I go to London 
next month. 

TOM 

Really ? 

MADELEINE 

They're taking the whole company. I am so excited 
about it. 

TOM 

It's just the play London will like. 

MADELEINE 

Da you think so? Isn't it too American? 

TOM 

It couldn't be for London. 

MADELEINE 

[Smiling.] Do they understand us as well as that? 
[83] 



THE NATIONAL ANTHEM 

TOM 

Better. They've had more American plays than their 
own since 1914. 

MADELEINE 

I do hope they'll like it. It's one of the things I've 
dreamed of. Making a success in London. 

TOM 

I'll try and be at your "first-night." My headquar- 
ters are in London. 

MADELEINE 

Isn't that splendid? Do come. And let me know 
afterwards, will you.'' 

TOM 

I'd be glad to. 

MADELEINE 

Aren't you excited about going to London? 

TOM 

No. I did look forward to it at first. But oh, I 
don't know — I've rather lost interest. 

MADELEINE 

What a shame! 

TOM 

Isn't it? 

MADELEINE 

It's a great tragedy when one loses interest. I never 
do now. I spend all my time preparing. 

TOM 

Do you? 

MADELEINE 

[Nods.'} I didn't realize until I went on the stage 
how really ignorant I am. I thought I was quite fairly 

[84] 



Act II: NEW YORK 

well educated until I played my first part. I found I 
couldn't walk, or talk or listen or stand still. I was 
entirely feet and hands. No body. No brain. No 
voice. Nothing. 

TOM 

[Smiling.^ Judging from tonight you must have 
learned fast. 

MADELEINE 

Thank you. . . . Oh ! but all I have still to learn ! I 
think it's the hardest profession in the world. And 
the most absorbing. You should understand music, 
painting, dancing, fencing, people and have a smattering 
of other languages — [smiling] — after you've really 
learned your own. ... I'm trying to. — Then you should 
know all walks of life. Be able to cry bitterly or be 
frenzied with rage or go into paroxysms of laughter. 
Curse, pray, beseech, command. A Queen in one play, 
a harlot in the next. A Goddess or a servant-girl. And 
have the imagination to be the character completely the 
hours you are on the stage. Quite an undertaking for 
a conventional person who's only known my own silly 
little group of people. We never thought anything 
mattered as long as we had a good time. 

TOM 

Why did you take it up ? You didn't have to. 

MADELEINE 

I thought it was easy ! It looked easy and the people 
in it seemed so jolly and happy. I had quite a shock 
when I got my first part — through Arthur. 
[85] 



THE NATIONAL ANTHEM 

TOM 

Oh? 

.MADELEINE 

He rather liked me once upon a time. 

TOM 

Ah! 

MADELEINE 

He took me one day to a manager and he engaged me 
on the spot. 

TOM 

How fortunate. 

MADELEINE 

I found out afterwards it wasn't because I impressed 
him, but Arthur knew where to get a special brand of 
liquor the manager liked. At least that's what Arthur 
said. 

TOM 

It sounds feasible. 

MADELEINE 

And the part wasn't very important. So I started — 
a little more than a year ago. It was heart-breaking 
at first; wretched. But now I enjoy every minute of 
the day. 

TOM 

And night? 

MADELEINE 

No. This is an orgy for me. I never go to parties 
any more. They spoil the whole morning. And I 
love my mornings now. But I couldn't refuse ISIarian 
and Arthur. Isn't it wonderful — their marrying? 

TOM 

Isn't it? [Evasively.] 

[86] 



Act II: NEW YORK 

MADELEINE 

I was astonished. She used to talk of you all last 
year, [//e loohs away.^ It must have been very sud- 
den. She always was impulsive. What a dear she is ! 
I met her today dashing about buying everything imag- 
inable. The car was full of boxes. She had more in 
her arms. I told her she should wait for Paris and 
she laughed deliciously and said she'd buy more there. 
Oh, well! It's a wonderful time in one's life, and one 
only has it once. 

TOM 

I've known some daring exceptions. 

MADELEINE 

Marian won't be one. She's the kind that marries 
once and, hit or miss, sticks to it. 

[Tom is quite distressed — presses his hand over his 
forehead.} 

MADELEINE 

And Arthur's a perfect dear. And now that he's 
married, he'll quiet down and be ever so good to Marian. 
I'm sure of that. [Laughs as she thinks.] 

Woxddn't it be wonderful if we all met in London 
or Paris? 

TOM 

Wouldn't it? 

MADELEINE 

We must try to arrange it. Have a real American 
dinner. Real American news: a meeting of the clans 
three thousand miles from New York. 

[Jim and Xed, fairly zcell lit, come in from the pas- 
sage.] 

[87] 



THE NATIONAL ANTHEM 

JIM 
[^Speahing so that by the time he has finished they 
are facing Tom and Madeleine.] But the funniest part 
was, when Bill was taking four gallons for a week-end 
and ran the car right over an embankment. [Almost 
cries with laughter, then suddenly stops short.^ Hello, 
Tom. [Shakes hands. ^ 

NED 

[Madeleine shakes hands.'\ Fancy you! I haven't 
seen you around anywhere. And how's Tom.'' [Shakes 
Tom's hand.^ 

JIM 

[Bending over Madeleine.] Renegade. 

MADELEINE 

Why? 

JIM 

Desertress. You've jilted us. Every party I ask 
feverishly "Where's Madeleine.''" And they answer 
gloomily "Not here." Who is he.'' 

MADELEINE 

It's a she. 

JIM 

Oh? 

MADELEINE 

At least I like to think it a she. 

JIM 

Well, who is her? [Laughs.l 

MADELEINE 

My art. [Laughs. "] 

[88] 



Act II: NEW YORK 

NED 

Where's the bride? 

JIM 

And groom? 

MADELEINE 

Dancing, I suppose. I've only just come, 

JIM 

Hello. Look. [Points to refreshment table; hurries 

to it.] 

NED 

[Follows him eagerly.'] 
[Filling glass.] Madeleine? 

MADELEINE 

No, thanks. 

NED 

Just a spot? 

MADELEINE 

Not even a drop. 

NED 

Teeny one? [She shakes her head.] Tom? Of 
course not, you're a dry. [Mij'es his own.] 

JIM 

[Coming down to Madeleine, glass in hand.] 
What's the matter? Feeling blue? 

MADELEINE 

[Smiling up at him.] Not at all. Never jollier. 

JIM 

Then why not ? [Holding up glass.] 

MADELEINE 

I've stopped. 

[89] 



THE NATIONAL ANTHEM 

JIM 

Why? Can't you get any good stuff? Arthur knows 
where you can. 

MADELEINE 

No. Besides I've a matinee tomorrow. 

JIM 

All the more reason. 

MADELEINE 

No. — Can't do it any more, Jim. 

JIM 

Why, every actress I know takes all she wants. 

MADELEINE 

Actress? 

JIM 

Sure. 

MADELEINE 

Where do they act? 

JIM 

Anywhere 

MADELEINE 

For instance? 

JIM 

Well — musical things, j'ou know. ... I never go to 
the theatre myself . . . just musical comedy or revue. 
. . . But I know lots of actresses. . . . Lots. [Smiles 
broadly as he thinks of them.^ 

MADELEINE 

Oh — I see. You mean the "non-commissioned ladies 
of the stage"? 

[90] 



Act II: NEW YORK 

NED 

[As the bell rings off in the distance, ranges himself 
alongside Jim and sings.^ 

"Look out; here come the damn police, the damn 
police," 

JIM 

[Singing with him.^ 

"The damn police. Look out; here come the damn 
police, 

"The damn police are here."* 

MADELEINE 

Then you do go to the theatre. That's from a play. 

NED 

[Laughing.^ I know. I thought it was a musical 
show. 

JIM 

So he took me. "Lillian," he called it. 

[Etta and Maud-Ethel enter in evening dress. 
Ned and Jim arm in arm march up to them sing- 
ing the same chorus.'\ 

ETTA 

How festive! Hello, Tom. Why Madeleine, dear- 
est. [Sits beside her.^ 

maud-ethel 
Where did you get it.'' [Looking from Ned to Jim.] 

JIM 

It's a touching story. Ned and I found a man 

• Sung in "Liliom." 

[91] 



THE NATIONAL ANTHEM 

MAUD-ETHEL 

Never mind. . . . Wliy^ Tom. ... I am glad. . . . 
And the actress. [Kisses Madeleine on both cheeks.^ 
Madeleine, my dear, you're too wonderful. Didn't 
think you could do it. Really I didn't. Did you, Etta? 

[Jim and Ned mix drinks for Etta and Maud- 
Ethel.] 

ETTA 

I haven't seen it yet. But I'm going. 

MAUD-ETHEL 

Oh, you've got to. Madeleine's too adorable. [To 
Madeleine.] It must be trying to play a good woman. 
But you make her almost interesting. Really you do. 

ETTA 

Is she a good woman? 

MAUD-ETHEL 

I should say so. Sticks to one husband and every- 
thing. Don't you, my dear? [Madeleine smiles and 
nods.l 

ETTA 

How mushy! 

MAUD-ETHEL 

Not the way Madeleine plays it. Made me cry, really 
you did. 

ETTA 

It must be fun having a different apartment in every 
act. That's the kind of part I'd like to play. Some 
bite to it. 

[92] 



Act II: NEW YORK 

JIM 

{Handing her glass.} Wliere would you like the 
apartments, Etta? 

ETTA 

I'd like four. Washington Square when she starts 
out. The forties after she's broken the ice. — The sev- 
enties when she meets a senator and Riverside Drive 
when she marries Wall Street and kills herself after 
her real lover turns up and throws the money in her 
face. 

[General laugh during which the young ladies drink.} 

JIM 

[To Madeleine.] Change your mind? A quick one? 

MADELEINE 

No, thank you. 

JIM 

Come on. Show your sporting blood. 



MADELEINE 

JIM 
MADELEINE 

JIM 



No, thanks. 
Really quit? 
Yes. 

Never? 

MADELEINE 

I can't afford to anj'^ more. 

JIM 

It does cost a lot. Still there it is, free and flowing. 
[Points to table.} 

[93] 



THE NATIONAL ANTHEM 

MADELEINE 

It costs an actress more than the price, Jim. Face, 
voice, figure. You can't buy them back. 

JIM 

Well — if you don't take anything I don't see what 
you do witli yourself. Can't sleep all day. All the 

actresses I've known 

[Arthur comes in from passage. He has evidently 
"had a few" earlier in the evening. Is genial, full 
of spirits. A little noisy. '\ 

NED 

Hello — The groom. [Grabs Jim's arm, they advance 
to meet AmnvR, calling.] Hail! Hail! Hail! [Slaps 
him on the back — shakes him by the hand — greets him 
very ostentatiously.] 

ARTHUR 

[Laughingly returns the greeting. Then turns to the 
charmers. Shakes hand with them.] Jolly of you to 
come. Mad. Marian '11 be so pleased. 

MADELEINE 

I had to, Arthur. I wanted to wish you Godspeed 
and luck. 

ARTHUR 

I know. You always wish me luck, don't you? 

MADELEINE 

Of course I do. [Meaningly.] And Marian! 

ARTHUR 

You brought it to us, Madeleine. You introduced us. 
[94] 



Act II: NEW YORK 

[Sees Tom standing quite near — his face set and hard.] 
Hello, Tom. [Shakes hands with him.] Why aren't 
you all dancing? 

MADELEINE 

I've only just come. 

MAUD-ETHEL 

So have we. We'll dance the next. 
[Jim and Ned come down each side of Arthur, take 
his arm and lead him to the refreshment table.'\ 

JIM 

You might ask us to have something, eh, Ned.'' 

NED 

I rather expected him to. 

ARTHUR 

My dear fellow, it's there. Why didn't you help 
yourselves .'' 

JIM 

Not without you. Could we? 

NED 

I should say not. I do feel a bit faint. It's so 
long May I, Arthur? [Winks at Jim.] 

ARTHUR 

[Mixing drinks at table.] Why, of course. Stupid 
of you to have waited for me, 

MAUD-ETHEL 

I didn't notice much waiting. 

ETTA 

It was the first thing they did. 
[95] 



THE NATIONAL ANTHEM 

JIM 

We'll jazz all night and carry you on board. 

ARTHUR 

I'm game. Hurrah! [Drinks.} Ah! 

JIM 

Smooth seas. 

NED 

[Holding up glass.} Good liquor on board. 

JIM 

The wine of the country in dear old Paris, France. 

NED 

Pretty frocks for Marian. 

JIM 

Paquin. 

NED 

Jewels from Cartier. 

JIM 

All the fun of the fair after dark. 

NED 

And may you never draw a sober breath until you get 
tack. 

JIM 

The Groom ! The Groom ! Arthur ! 

NED 

The Groom ! Arthur ! [Both drink — emptying their 
glasses.} 

JIM 

And one more for good measure. [Drinks and fills 
glass.'] 

[96] 



Act II: NEW YORK 

NED 

That's sound. [Fills his.] 

ARTHUR 

Right. My turn to give a toast. [Fills his glass, 
holds it up.] My friends! [Looks smilingly and hap- 
pily at them all and drinks.] 

JIM 

I'm in on that. [DHnks.] 

NED 

You can't leave me out. [Drinks,^ 
To Marian. [Drinks.] 

JIM 

Mrs. Arthur. [Drinks.] 

ARTHUR 

[Looks at Tom.] You're not drinking? 

TOM 

No. I don't. 

ARTHUR 

Of course^ I forgot. [Looking insolently at Tom.] 
Doesn't nauseate you to watch us, does it.'' 

TOM 

[Looking steadil;/ at Arthur.] Not in the least. 

[The music siops. The, doors open from the ball- 
room and ^Marian and several guests come through 
the passage Into the room. Arthur meets the 
others and takes them to the refreshment table. 
[97] 



THE NATIONAL ANTHEM 

Marian is in a charming evening dress: — she is very 
white and tired. They give her a boisterous wel- 
come. Amid much chatter she shakes hands with 
Maud-Ethel; Etta, etc., etc., finally reaches 
Madeleine whoJn she kisses and sits beside. Dur- 
ing her passage to Madeleine she is greeted with — 

ETTA 

Marian, dear. 

MAUD-ETHEL 

You look too adorable. 

TOM 

[Nervously.'} How are you, Marian? 

MARIAN 

I'm worn out. I've been rushing about since early 
Tuorning. I nearly sent you a message to excuse me. 
If I'd only been a guest I would have. That's the 
delightful thing about being only a guest. A headache, 
a. sick aunt, or a distant dead relative make splendid 
excuses. But as a hostess — oh, no! There's aspirin 
for a headache; for a sick aunt — a doctor; and for a 
dead, distant relation — a coffin. The hostess is the 
piper. She calls the tune and must be there to have 
it played. ... It was so sweet of you all to come. 
It was Arthur's idea. He felt you'd all like to see us 
before we go. 

JIM 

Good for you, Arthur. We do. 

NED 

Didn't we see you meet for the first time? 
[98] 



Act II: NEW YORK 

ETTA 

And fall in love ? 

MAUD-ETHEL 

And spoon all over the club-porch? 

NED 

Weren't we there when you bolted? 

MAUD-ETHEL 

And made Arthur's awful thing of a father so mad? 

JIM 

Who welcomed you to New York from your wedding 
trip? 

NED 

And we're going to give you the send-off of your 
lives tomorrow morning. 

JIM 

We'll keep Arthur company until it's time to start. 

NED 

And, like the real pals we are, we'll bear him up the 
gang-plank. 

MARIAN 

[Trying to laugh but more than a little anxious and 
distressed.} Oh, no. Nothing like that. We'll just 
have a dance or two. That's all. 

JIM 

All? 

NED 

With that band ? 

JIM 

Lew Isaacs, the "Jazz Demon" from the "Grove"? 
If we quit before daylight he'd be hurt. 

[99] 



THE NATIONAL ANTHEM 

NED 

I should say so. He'd sob all down his diamonds. 
[To Marian.] May I have the next? 

MARIAN 

No, Ned. I'm so tired. I can't dance any more 
tonight. 

ARTHUR 

Oh, come. You mustn't throw a chill into everyone. 

MARIAN 

[Hurriedly. 1 Why, of course not. Perhaps I'll be 
all right in a little while. Just now I couldn't. 

ARTHUR 

I know what would put you right in a minute. 

MARIAN 

What, Arthur.? 

ARTHUR 

A little glass of cool, dry, well-iced champagne. 
Right out of the bucket. See.'' [Pointing to it.'\ 

MARIAN 

[Shaking her head and smiling.^ No, dear. 
[Tom makes a movement forward. Madeleine 
watches ana:iously.^ 

JIM 

It's the very thing, Marian. 

NED 

Of course it is. Let me open it. May I, Arthur? 
I love that expectant moment before the reluctant cork 
[100] 



Act II: NEW YORK 

gives up to the steady pressure of finger and tbumb. 
May I ? 

ARTHUR 

Surest thing you know. 

[Goes to table ■with Ned: together they open bottle 
and arrange glasses.^ 

ETTA 

Do^ Marian dear. It's too heavenly when you're 
fagged. 

MAUD-ETHEL 

Works like magic with me. Really it does, Marian. 

MARIAN 

Awful stuff. Gets up your nose and puckers up your 
tongue. Brrh ! [Shudders violently. '\ 

MAUD-ETHEL 

It's saved me many a time. Oh, many a time. I 
was so dead after one party I could hardly breathe. 
One little glass sent me way up to the ether and I 
floated through two more parties the same night and 
got home when dawn was breaking fresh as paint. 

ETTA 

On one glass? It must have been a long time ago. 

MAUD-ETHEL 

Oh, I took a few more to keep me going. 

ETTA 

I was going to say. 

ARTHUR 

[Going to Marian with gla>ss of champagne.] Here 
we are. 

[101] 



THE NATIONAL ANTHEM 

MARIAN 

I'd rather not, Arthur. 

MADELEINE 

Don't press her. She doesn't like it. 

ARTHUR 

Come on. This glass will have more effect on you 
than a whole bottle would on me. 

JIM 

I should say so. 

NED 

Or even two, Arthur. 

ARTHUR 

[Pressing Marian.] Just a glass. Then we'll have 
a dance and by the time it's over, you'll be feeling great. 
[Waits: then angrily.^ Come on. Don't make such a 
fuss. [Marian looks quickly at him, takes the glass 
from him.] Down she goes. 

JIM 

Fancy needing coaxing — these days. 

NED 

Makes me all creepy. [Shivering.] 

ETTA 

It's reaUy rather hectic, Marian's first glass! 

MAUD-ETHEL 

The road to ruin. 

ETTA 

Such a nice road. 



[102] 



Act II: NEW YORK 

JIBC 

Paved with broken bottles. 

ARTHUR 

[Irritably to Marian.] Come on! 

NED 

They're off. 

MAUD-ETHEL 

Let's go! 

[Marian drinks the glass. Tom and Madeleine 
watch her anxiously. Jim swallows in imitation 
with her turning to Ned zvho does likewise.^ 

ETTA 

[As Madeleine finishes the glass.] Doesn't it feel 
good? 

MAUD-ETHEL 

I'd love to have my first glass again. 

MARIAN 

[Shivers; hands glass to Arthur.] How bitter! 

JIM 

Put a lump of sugar in the next. 

ARTHUR 

Monticello — 1904? Not if I know it. 

[Goes to table, replaces glass, then goes to door of 
room and gives signal for dance. The music 
crashes from the ball-room. Amid much chatter 
the other guests go into the ball-room. Jim asks 
Etta, Arthur a^ks Maud-Ethel, Ned asks Made- 
leine.] 

[103] 



THE NATIONAL ANTHEM 

MARIAN 

I'd like Madeleine to stay with me, Ned. You and 
Tom cut in on the others. Do you mind? 

NED 

Not a bit. Come on, Tom. [To Marian.] Wait 
until the fizz gets in its fine work. You'll dance every 
one. 

[Goes out.^ 

TOM 

May I have one later, Marian? 

MARIAN 

Yes, Tom, of course. Close the doors, please, when 
you go in. And do ask them not to play so loudly. 

TOM 

All right I will. 

l^Goes out, closing the doors. After a few moments 
the hand quiets down.] 

MARIAN 

[Affectionately to Madeleine.] It is nice having 
you here. 

MADELEINE 

I'm sorry you gave in to Arthur. 

MARIAN 

What was I to do? I hate a fuss. 

MADELEINE 

He shouldn't have insisted. He knew you didn't 
want to take it. 

[104] 



Act II: NEW YORK 

MARIAN 

I'm rather glad he did. I don't feel anything like 
so tired. [Quite animatedly.] I really feel very much 
better. I do, really. Much. 

MADELEINE 

I know. Then it passes and you feel fagged again 
and then you take anotlier — and another — and so on 
through an evening and into the night. I've done it. 
Then in the morning, after a restless, tossing-about, you 
wake up, your mouth parched, your nerves jumping, 
your face bagged and drawn, your eyes dull, no interest 
in anything. [Shivers.] It's not worth it. 

MARIAN 

[Laughs brightly.] What a picture ! [Pantomimes 
the drawn face, the listless movements, the dull eye and 
the jumping ?ierves.] Is that to be my fate? 

MADELEINE 

I'd be doing it now, I suppose, if I hadn't a real in- 
terest in my life. Something that fills up all my time. 
I'm so proud of being allowed to be an actress and so 
jealous about what people say of us that I never give 
them the slightest chance to belittle the theatre thru 
anything I do. 

MARIAN 

I know you don't. I know. — But please don't think 
we are going to have any such night as the one you've 
described. 

MADELEINE 

I'm not so sure — as far as Arthur is concerned. It's 
a shame, Marian. 

[105] 



THE NATIONAL ANTHEM 

MARIAN 

From the time we go on board he will take nothing 
until we reach Paris. 

MADELEINE 

And then ? This every night? 

MARIAN 

Certainly not. 

MADELEINE 

That's all they talk about when they get back fi'om 
Paris. The Americans they met; the good times they 
had ; the wine they drank. Oh ! One never hears any- 
thing else among the Jims, the Neds and the Arthurs. 

MARIAN 

Madeleine, please, don't put Arthur in that class. 

MADELEINE 

He's been in it ever since I've known him. 

MARIAN 

He won't be any more. 

MADELEINE 

Oh, Marian, you don't know how different life is 
when you have something to think about. Something 
to do. I wish you had. 

MARIAN 

I have. Taking care of Arthur, [Laughs.] That 

will take some doing, you think. This is only a little 

fun. Did 'ems think we were beasts cos we wanted to 

be silly and dance and drink just before we sailed 

[106] 



Act II: NEW YORK 

away ? Oh, how solemn baby is ! [^Jazses to the faint 
tune in the distance.'} 

MADELEINE 

[Laughing in spite of her wish not fo.] Oh ! Marian. 

MARIAN 

[Laughs gleefully.} That's right. Laugh! Even 
though you are a serious actress and a very prim and 
respectable one. Laugh! [Suddenly and impulsively 
putting her arms around Madeleine.] Arthur is such 
a dear, Madeleine. We've been like two children laugh- 
ing and chatting and playing games. Not a care. Not 
even a tijBf, much less a quarrel. It has been so sweet. 
We'll always be happy and tender and thoughtful of 
each other. . . . That's the way to keep marriage per- 
fect. 

MADELEINE 

It won't be if you plunge into the same set over 
there. 

MARIAN 

But we won't. We won't. ... I keep telling you we 
won't. 

MADELEINE 

I wish you were going to Italy. That's where I'd 
love to go. The pictures, the music, the beautiful soft 
language and the heavenly sky. Not all the cheap New 
York-ese grafted onto a French city. They never see 
Paris, really. Just the shops and the race-course, box- 
ing exhibitions and the foul things put on just for the 
American visitor. [Lifts her shoulders and drops them 
in a gesture of disgust] Out half the night and the 
[107] 



THE NATIONAL ANTHEM 

glorious morning gone before they're well enough to 
start a new day. Ugh! [Shivers.'] 



Madeleine! You mustn't think we're going to live 
that kind of life. Don't judge Arthur by tonight. He's 
excited, naturally. The first time either of us has gone 
abroad. [Suddenly; seriously.] He's only liked this 
sort of thing because he's never known anything better. 
Ned and Jim were his idea of real men because they've 
made time pass pleasantly for him while he's been with 
them. But I've been showing him there is another life 
just as attractive, just as amusing and infinitely more 
lasting. [Waits, while the music heats out from behind 
the closed doors.] Why has that kind of music satisfied 
him .'' Because he never knew, until I took him quite re- 
cently, the beauty of real music. . . . That was why. 
Now he wonders how he ever found pleasure in that dis- 
cord. . . . During the time we have been married I've 
taken him to some heavenly concerts and the opera. He 
didn't like them very much at first. But after a while 
he did. We've looked at beautiful pictures and read 
absorbing books. It has been like opening a new world 
to him. He's taken a drink when he wanted it. But 
that's all. And they've been so seldom — so far be- 
tween — so — so — unimportant to him. That part of his 
life is finished. Finished. . . . Poor Arthur. He's 
never had the opportunity to expand. Wliy, he doesn't 
know his own country. Hardly his own language. 
After a trip abroad I'm going all over the United States 
with him. Show him how wonderful they are and 
[108] 



Act II: NEW YORK 

what real men can be. He has only met the careless- 
living, never-a-thought-for-the-morrow kind. Men who 
run round and round in a mouse-trap. After all, what 
chance has he had.^" His home influences were of the 
worst. A mother, nervy and peevish and hysterical. A 
father who alternately cursed or beat him. Then spoiled 
him. Not one of the boys he chummed with cared for 
anything except shirking in class and amusing them- 
selves out of it. Naturally Arthur drifted with the 
rest. Then he finally got to college. There he met an 
older set who drank, talked obscenely, racketed nightly 
in the nearby town and were thrown out of cabarets. 
... But there is really nothing vicious about him. 
Just habits, contracted through the wilful indifference 
of his father. Parents cannot, must not be indifferent, 
Madeleine. It's a divine office, being a parent. 
[Madeleine kisses /ler.] When we get home we will 
form a new circle of friends who will stimulate the 
finer things in him. I have dreamed it all. ... If I 
fail it will be my own fault, not Arthur's. He could 
liave lived his life without me. I couldn't have lived 
mine, Madeleine, without him. [Stares out into the 
future.] If he goes back it will be because I've not had 
patience enough — strength enough — or loved deeply 
enough. 

MADELEINE 

Of course he won't go back. I am so sorry I said 

what I did. Stupid of me. There. [Puts her hand on 

Marian's.] Forgive me. Everything is going to turn 

out splendidly. Oh ! And we'll meet on the other side. 

[109] 



THE NATIONAL ANTHEM 

[Marian looks at her.} Yes^ we will. They're taking 
the play to London — and me. Next month. 

MARIAN 

Isn't that wonderful! I'm so glad. 

MADELEINE 

Tom is coming to my "first-night." You and Arthur 
could fly over, sup with me^ and be back in Paris the 
next morning. 

MARIAN 

We will. That's another thing I want to interest 
Arthur in. The theatre that matters. The real theatre. 
Plays like the one you're in. Not brassy music^ nudity, 
common jokes and the laughter of fools. [^Laughing 
gleefully.'] It's like taking a little child by the hand 
and showing him all the things I like. Poor Arthur's 
seen nothing worth while. It has been fun taking him 
to all the places I wouldn't think of telling my jazz- 
friends I knew anything about. It's been such fun. 
\^Some of the dancers return. Their partners bring 
them refreshments. Jim, Arthur and Ned imme- 
diately go to the table as though drawn there thru 
an impelling force. Corks begin to pop, siphons 
hiss, ice rattles in the glasses. The two delightful 
girls, Etta and Maud-Ethel, sink in great exhaus- 
tion on chairs and proceed to fan themselves with 
minute and somewhat damp handkerchiefs. Tom 
lounges over near Marian. Jim and Ned loyally 
bring Maud-Ethel and Etta refreshments. Ar- 
thur drinks copiously, then brings Marian a glass 
of champagne at the end of the following.] 
[110] 



Act II: NEW YORK 

MAUD-ETHEL 

Better, dear? 

MARIAN 

Ever so much. 

ETTA 

You were very wise to stay here. 

MAUD-ETHEL 

Wasn't she? 

MARIAN 

Why? 

ETTA 

The floor's too sticky for words. 

MAUD-ETHEIi 

I hate the band so near. 

ETTA 

It's too loud for a small room. 

MAUD-ETHEL 

And Tom wouldn't cut in. Just sulked at the door. 

ETTA 

Come into the next one and get some life into it. 
[Jim hands glass.^ Thanks. 

MAUD-ETHEL 

[Takes a glass; sips it; makes a "wry face.} I don't 
like it tonight. 

ETTA 

Nor I. 

MAUD-ETHEL 

Sickly. 

ETTA 

No taste at all to me. 

[Ill] 



THE NATIONAL ANTHEM 

JIM 

Monticello — 1904! 

NED 

It's too bad about you. Getting bored? 

ETTA 

Fed up. 

MAUD-ETHEL 

I'm sick of jazz. 

ETTA 

And tliis. [Hands glass back to Ned.] 

JIM 

[Sidles up to Madeleine as though he was "fed-up" 
"with Etta and Maud-Ethel.] You know, Madeleine — 
of course I don't go to the theatre myself — except girl- 
shows — but tell me, do they really make love on the 
stage ? 

MADELEINE 

What do you think.'* 

JIM 

Oh, I don't know. Haven't thought about it really. 
Of course I don't go myself. But you hear things. 
I've been told they really do. And that the leading- 
man is always in love with the leading-woman and she 
with him. 

MADELEINE 

Have you really? 

JIM 

Heard it heaps of times. 

MADELEINE 

So they don't have to act.'' Just play themselves? 
Make real love, in public, eight times a week? 
[112] 



Act II: NEW YORK 

JIM 

Of course, I don't know. You see I never- 



MADELEINE 

— go yourself? 

JIM 

No. — But when they embrace and all that — do they 
really feel it.'' 

MADELEINE 

Would it please you to think they did.'' 

JIM 

I fancy the public likes to think it. Gives them a 
bit of "extra." Eh.'' 

MADELEINE 

Would the public like to think real blood was spilled 
when someone was killed on the stage? 

JIM 

Oh, well, you know 

MADELEINE 

If they want real embraces why not real murders? 

JIM 

See what you mean. Of course I don't go. 

MADELEINE 

You should. I'd like to have an intelligent man's 
viewpoint. 

JIM 

Perhaps I will. 

MADELEINE 

Do. 

[ll.?] 



THE NATIONAL ANTHEM 

ARTHUR 

[Very flushed — a little unsteady but very happy — ■ 
holds out glass to Marian.] Why, you look a thousand 
percent more yourself. Less faded an' everything. 
You look sparkling. See what one little glass will do. 
Give this one a chance. 

MARIAN 

No more, dear. 

ARTHUR 

Come on, let's be jolly. 

MARIAN 

I'm quite jolly enough. 

ARTHUR 

Nothing on board ship. Not a drop. That's a 
promise. Just tonight. Last time in the old country. 
Here we go. 

MARIAN 

[Shakes her head."] No, Artliur. 

ARTHUR 

Just to please me. Won't ask you again. Madeleine 
and Tom would freeze any party. Let 'em see you're 
a "good fellow." Just sip it and show 'em an example. 

MARIAN 

\To stop any further discussion sips it and hands 
glass back to Arthur.] There. 

ARTHUR 

That's the stuff. [To Tom.] See? Do you good 
too. Then you wouldn't stand around as if you didn't 
know you were alive. 

[114] 



Act II: NEW YORK 

TOM 

I am afraid I'm rather a damper. 



No. A dryer. [Laughs uproariously as he turns to 
Ned and Jim. He is growing more unsteady and noisier 
momentarily.^ Hear that? Tom said to me — of course 
he's not drinking anything — he said to me he was a 
damper on the party and I said "No, Tom/' I said, 
"No! You're a dryer!" [He laughs loudly. '\ 

[Jim looks at Ned and sobs on his shoulder.]^ 

ARTHUR 

[Turns to Maud-Ethel atid Etta.] Must tell you. 
Tom said to me — 

[The hand starts again, drowning Arthur's voice; 
he goes on telling his story to the amazed young 
ladies: when the music reaches a few quiet bars 
Arthur is heard shrieking.] 
I said "No, Tom, you're a dryer!" [He is almost in- 
articulate, so overcame is he by his brilliant mot.] 

ETTA 

Did you really say that? 

maud-ethel 
Too wonderful! 

[As Arthur lurches over to tell Madeleine, chuck- 
ling to himself, Maud-Ethel a7id Etta look at each 
other, then turn to Ned and Jim. The four turn 
to each other and proceed to discuss him, tho ex- 
actly what they say cannot be heard thru the in- 
[115] 



THE NATIONAL ANTHEM 

sistence of Isaac's band. They start into the dance 
room but the girls, thru a quiet bar of the music, can 
be heard protesting.^ 

ETTA 

But it's so hot. 

MAUD-ETHEL 

And noisy. . . . 

ETTA 

I'm going after this one. 

MAUD-ETHEL 

So am I. 

[They disappear into the room.'\ 

ARTHUR 

l^Going to Madeleine.] Hear what I said to Tom? 

MADELINE 

Yes I did. [As they move toward the dance room.] 

ARTHUR 

I suppose it was bad, eh.'' 

MADELEINE 

It was priceless, Arthur. 

ARTHUR 

I get a good one once in awhile. Hear what I said 

about Jim's home-brew [As the band swells 

up he calls out.] Not so loud. Damn it — we're not in 
a barn. 

[Band plays softly. . . . Marian takes Tom's arm.] 

TOM 

Don't dance if you're tired. 
[116] 



Act II: NEW YORK 

MARIAN 

I'm not. Arthur's prescription did that. Tiredness 
all gone. 

TOM 

I'm sorry you took it^ Marian. 

MARIAN 

Why? There's no harm 

TOM 

[Checking her.] Ah! I can almost hear your father. 

MARIAN 

But is there? One glass. 

TOM 

You shouldn't have given in to him. Make him do 
what 1/ou want. 

MARIAN 



He does. 






TOM 


Does he? 






MARIAN 


Yes. 





TOM 

Oh, Marian. I'm afraid. Afraid. You've been mar- 
ried three months and here are the same thoughtless 
empty-headed, loud-mouthed toughs around you. 

MARIAN 

They haven't been for the last three months. Arthur 
wanted them tonight to come just to say "Good-bye." 
That's all. After tonight we'll never see them again. At 
any rate very rarely. 

[117] 



THE NATIONAL ANTHEM 

TOM 

When you were engaged Arthur was never going to 
drink again, 

MARIAN 

No, Tom. Drink too much. There's quite a di£fer- 
ence. 

TOM 

He's drunk now. 

MARIAN 

He's not. 

TOM 

Very nearly. He'll be quite, before this breaks up. 

MARIAN 

And why not? It's the last time. 

TOM 

IShaking his head.'] He's been "last-timing" ever 
since I've known him. [Looking intently at her.] I 
am afraid, Marian. 

MARIAN 

[Sharply.] Don't be ridiculous, Tom. 

TOM 

I'm sorry I said that. I shouldn't have come tonight. 

MARIAN 

I'm glad you came. I wanted you to come. 

TOM 

I felt as you were going away — and — I — didn't know 
when I'd see you again. ... So I came. . . . Now — 
shall we dance? 

[118] 



Act II: NEW YORK 

MARIAN 

[Sits: pouts.'] No. ... I don't know whether I'm 
more hurt or angry at this continual criticism of Arthur. 
It's so unfair. . . . What has he done .'' As thousands of 
others do. . . . And their wives don't have delegates 
waiting in line to condole with, or caution, or shake their 
heads and say "I'm afraid." I want neither pity nor 
advice, and I certainly don't want people going about 
being frightened for me. . . . It's too stupid. ... I'm 
really a little tired of it, Tom. . . . [Tapping her shoe 
impatiently on the carpet.l More than a little angry . . . 
and quite a good deal hurt. . . . First Madeleine . . . 
then you. . . . After all, even though Madeleine is my 
friend, it doesn't give her the privilege of criticizing my 
husband. . . . That's mine. — And I won't share it with 
anyone. . . . And because you liked me 

TOM 

[Simply; earnestly.'] I love you, Marian. 

MARIAN 

If you did 

TOM 

I do. 

MARIAN 

Then whatever I do should be right because I do it. 

TOM 

It is. 

MARIAN 

You're very diflScult to argue with. ... I won't have 
Arthur found fault with. . . . Why, even you and Made- 
leine grudge me a glass of champagne because Arthur 
[119] 



THE NATIONAL ANTHEM 

gave it me. . . . Childish ! — Absurd ! — Friendship has 
its rights — yes. — But it also has its limits. — And I must 
say that's the limit. — One glass ! — You must love me 
a lot to want to deprive me of that little "drop of com- 
fort." — And I so tired. — You knew that. — I'm sur- 
prisedj Tom. Really surprised. — And hurt. — Oh, I 
shall be glad to get away from all this carping and 
criticism. . . . At least Arthur makes no eflfort to con- 
ceal whatever he does. ... If he exceeds the speed-limit 
he always does it where a, traffic-policeman can see 
him. — And if he wants to hit anyone he doesn't do it in 
secret. Oh, no. Everyone can see. . . . His faults 
are on the surface — and they're the easiest corrected. 
I'm tired of it . . . disgusted with it. . . . [Facing 
Tom.] I'll hear nothing more against him from anyone. 
[Sees the pained look in his eyes.^ Sorry Tom. ... I 
know you mean it for the best. ... It came at the wrong 
time. . . . Sorry. 

TOM 

You're quite right, Marian. I asked for a snubbing. 
I deserved it. 

MARIAN 

No ! No ! Not a snubbing . . . horrid little word. — 
And you mustn't take it like that. Come take the frown 
off your face. — Be jolly. — Laugh. — Come, smile, like 
the Tom I like so much. . . . Come. . . . Smile. . . • 
[Tom smiles half-heartedly.^ 

You can do much better than that. . . . Grouchy old 
dear. Now I'll dance. [He puts his hand through her 
arm.] 

[As they go forvards the room the hand stops and 
[120] 



Act II: NEW YORK 

some of the crowd filter back. Ned and Jim go 
to the table as though faint. Etta and Maud-Ethel, 
in the last stages of boredom and fatigue, seek 
chairs near each other. ... Arthur cow.es in last 
with Madeleine.] 

ARTHUR 

I thought you were going to dance? [Glancing at 
Marian, theji at Tom.] 

MARIAN 

I am. The next. 

ARTHUR 

[Glaring at Tom.] Haven't cut that out too? Have 
you? 

TOM 

Oh, no, Arthur. [Forcing a genial smile.'\ 
[Ned and Jim bring refreshments to Maud-Ethel 
and Etta. Madeleine sits near Marian. Ar- 
thur goes to table and pours out and drinks sev- 
eral times. He takes o-ne, turns away, thinks again 
and then as tho magnetised by the table goes back 
and has a third. Then he fills a glass and, trying 
to avoid spilling contents and at the same time keep 
a straight course with a certain dignity, goes to 
Marian. . . . Meanwhile the following dialogue 
has taken place.^ 

JIM 

[Now quite mellow, approaches Madeleine surrepti- 
tiously and stands looking intently at her; she lookst 
up and smiles; he smiles down at Aer.] Do you be- 
lieve in complexes? 

[121] 



THE NATIONAL ANTHEM 

MADELEINE 

ISmiling.'} What kind? 

JIM 

Any kind? 

MADELEINE 

Which one is worrying you? 

JIM 

I haven't quite got on to it yet. But I know I have 
some from what I hear. 

MADELEINE 

The most complex are the really simple-minded. 

JIM 

Are they? 

MADELEINE 

Usually. They love to attach importance to every- 
thing they do — particularly to what they dream. It 
gives them a fictitious valuation to themselves. 

JIM 

That so? I don't know much about it. Just what I 
hear. — What's the inferiority one? Sounds a bird. 

MADELEINE 

The inferiority complex is the cloak the inefficient 
wear to cover their inadequacy. 

JIM 

That so? [Disappointed.] Thought it was somc- 
thing quite different . . . I've got it! 
[122] 



Act II: NEW YORK 

MADELEINE 

Have you? 

JIM 

Sure. Breaks out all over me when I talk to you. 
[She laughs.'\ What am I to do about it? 

MADELEINE 

Talk me right out of your system to a sympathetic 
listener, 

JIM 

Couldn't I talk it out with you? 

MADELEINE 

That would aggravate it. 

JIM 

Tell you what — I'll see your play tomorrow night — 
altho' I've a complex against the theatre. — I'll go to 
the mat with it. 

MADELEINE 

How brave of you ! 

JIM 

And I'm going to talk about you to everyone — be- 
cause you're the first actress I've ever known who takes 
herself seriously and doesn't drink — or nothing. Didn't 
think there was such a thing, I'll go tomorrow night. 
— Mark me. — I owe it to myself — and to my complex. 

NED 

[Calling from tahle.l Jim — Come here. 

JIM 

[To Madeleine.] 'S'cuse me. — Don't you do it! — 
Acting's not serious, , . . Biggest joke — [Going up to 
[123] 



THE NATIONAL ANTHEM 

Jim and Arthur at table.] — Madeleine hands me the 

biggest laugh 

[Tom sits by Madeleine and Marian and talks to 
them.] 

ETTA 

I'm so fagged. 

MAUD-ETHEL 

My slippers hurt. [Easing them by almost taking 
them off.] 

ETTA 

I saw you dancing with Ned. [Laughs.] 

MAUD-ETHEL 

Isn't he terrible? When he doesn't tread on you he 
tears things. [Fingering portions of her drapery that 
have suffered.] 

[Roars of laughter come from the table at bach-, 
Arthur's predominating. Marian looks at him 
anxiously. ] 

MAUD-ETHEL 

Don't see much change in Arthur, do you? 

ETTA 

Yes. . . . He's noisier. 

MAUD-ETHEL 

I never saw anyone look less married. 

ETTA 

Or any one more than Marian. 

MAUD-ETHEL 

Arthur's no cinch of a husband. 
[124] 



Act II: NEW YORK 

ETTA 

I'll have to give them up when I get back. Too 
strenuous for me. 

MAUD-ETHEL 

Funny. I was thinking that too. — You are flushed. 

ETTA 

Am I.'' [Taking mirror from her hand bag and 
powdering.] So I am. Your hair's all messy, dear. 

MAUD-ETHEL 

Thank you, dear. [Fingering her hair.] How nice 
Madeleine looks ! So cool and everything in its place. 

ETTA 

Maud-Ethel, I tell you what. We're jazzing our- 
selves to bits. 

MAUD-ETHEL 

Fimny. I was thinking that too. 

ETTA 

What do you say to giving it up for a while? 

MAUD-ETHEL 

I wiU. Will you.'' 

ETTA 

This is my last for quite some time. 

MAUD-ETHEL 

What I was thinking. 

ETTA 

Tom looks better than I've seen him. 

MAUD-ETHEL 

Doesn't seem to belong here. 
[Ro<ir of laughter from table.] 
[125] 



THE NATIONAL ANTHEM 

ETTA 

They do wear you. [Shwers.'\ 

MAUD-ETHEL 

Ned's is a horrid laugh. [Shivers.^ 

ETTA 

I feel it in my shoulder-blades. {^Contracts shoul- 
ders.^ 

MAUD-ETHEL 

And Jim's stories. Pitiful. Laughs right on the 
point. 

ETTA 

I never listen any more. I laugh loudly with him 
and let it go at that. 

Maud-Ethel 
And we used to think them so jolly. 

ETTA 

Madeleine upsets me. — We must look frights beside 
her. 

MAUD-ETHEL 

[Sitting up.'] I'm through. ... So asinine. 

ETTA 

Isn't it.^ Look at Madeleine! . . . 

ARTHUR 

[Reaches Marian — holding her glass and his own up 
as if performing a juggling-feat.] Here you are, my 
dear. . . . Take it this time without any argument. 
See? . . . 

MARIAN 

[Hesitates: Sees Tom and Madeleine looking at her: 
tosses her head defiantly ; takes it with a certain bra- 
[126] 



Act II: NEW YORK 

vado as tha justifying Arthur.] Thanks, Arthur, I 
will. 

ARTHUR 

Wait a minute. [^Holding her giass.'] To our leav- 
ing America and may it be a long time before we see it 
again. [JDrinks.^ 

MARIAN 

Not too long, Arthur. 

ARTHUR 

Can't be too long for me. I'm sick of this half- 
baked existing. We think we're a hell of a lot but we 
don't look so much to the other countries. Not by a 
damn sight. 

MARIAN 

[In great distress; trying to restrain him."] Arthur. 
[Ned and Jim stagger down to hijn.~\ 
Arthur 

[Continues with a sweeping gesture.^ This is having 
a wonderful time ! ... It is ! Wonderful ! Our idea 
of enjoying ourselves! . . . The limit! . . . I'd like to 
know what the others would think of us. 

JIM 
[Genially.^ I don't care what anyone thinks of us. 
... It t* a wonderful time you're giving us, Arthur. 
. . . And we're a wonderful people and don't you for- 
get it. 

NED 

Bet your life we are. 

ARTHUR 

Bah — I've heard that until I'm sick of it. . . . 
Marian and I are going where people do things. . . . 
Big things. . . . Not talking blasted business all the 
[127] 



THE NATIONAL ANTHEM 

time. How much they've made and are going to make. 
. . . Like my father. He's the type they judge us by 
abroad. 

JIM 

Now they're going to have you, Arthur. 

NED 

Sure ! Hurrah for America and Arthur. 

ARTHUR 

Makes me so damn sick. All this boasting and brag- 
ging. 

JIM 

Well — don't do so much of it then. 

ARTHUR 

Me? 

JIM 

You're bragging now. 

ARTHUR 

Who is? 
You are. 
About what? 

JIM 

Everything. . . . You can't hold your liquor. Never 
could. Bragging 

NED 

And boasting 



JIM 
ARTHUR 



JIM 

Perfectly disgusting. 

NED 

Beastly. 

[128] 



Act II: NEW YORK 

ARTHUR 

[Putting glass down unsteadily and facing them.^ 
You mean that? 'Cos if I thought you did 

JIM 

[Screaming with laughter in which Ned joins.'] 
We've got his goat! 

ARTHUR 

[Trying to be dignified.] No. No goat about it. 
I've never boasted. 

MARIAN 

[Trying to stop him.] Arthur — don't let them tease 
you. 

JIM 

Silly old ass. 

NED 

Of course we didn't mean 

ARTHUR 

I've never bragged about anything. . . . Nothing to 
brag about. . . . Except Marian. — Don't know why she 
married me. 

[Marian motions Ned and Jim to go away from Ar- 
thur. They go up and out muttering contritely 
that they really did not mean anything.] 

ARTHUR 

[To Marian, trying to get control of himself.] This 
is the last time. . . . Never again. . . . Last time. 
Honor. . . . Making a fool of myself, am I ? 

MARIAN 

[Hurriedly; ashamed.] No, no. . . . Of course not. 
. . . Now we'll start a dance. 
[129] 



THE NATIONAL ANTHEM 

ARTHUR 

Have this one with me? 

MARIAN 

Why don't you rest, just this one? 



ARTHUR 
MARIAN 
ARTHUR 
MARIAN 



Ashamed of me? 
No, no, Arthur. 
I'm all right. 
I know you are. 

ARTHUR 

Have this one with me? 

MARIAN 

I've promised it. 

ARTHUR 

Pr-promised it? Wlio to? 

MARIAN 

Tom. 

ARTHUR 

[Gloomily.l Oh — is that so? 

MARIAN 

We won't see him again for so long. 

ARTHUR 

Don't care if I never see him. 

MARIAN 

[Trying to get him to sit down.^ Now — Arthur — 

do 

[130] 



Act II: NEW YORK 

ARTHUR 

[Releasing himself from her rather roughly.'] NO 
— NO — Let me alone. [Crosses to Etta.] Dance this 
with me? 

ETTA 

Oh, Arthur, I'm dead. 

ARTHUR 

Is that so.'' [To Maud-Ethel.] Dance this with me? 

MAUD 

Ned's put me out of commission. See — my slipper's 
off. 

ARTHUR 

Tha's so? Pretty good friends you are — eh? Maud- 
Ethel! Etta! Good friends, all right. [Goes un- 
steadily to Madeleine.] Dance this with me? 

MADELEINE 

Why, certainly. [Rises.] 

ARTHUR 

You're all right, Madeleine. Always were. The salt 
of the earth, you are. The others! Pah! [Sweeping 
gesture.] They think I'm 'toxicated. You don't? 
[Anxiously.] Do you? 

MADELEINE 

Of course not, Arthur. 

ARTHUR 

I like you Madeleine. . . . Always did. . . . Real 
pal. . . . 

[Marian has gone to the door and given the signal. 
[131] 



THE NATIONAL ANTHEM 

. . . The dance music begins — Arthur and Made- 
leine; Tom and Marian go into the room to dance, 
Ned and Jim plead with the two girls. Finally 
they yield. Maud-Ethel replaces her slipper — 
Etta drags herself wearily up and they begin danc- 
ing in the room. . . . Passing the door Marian 
sees them and dances in with Tom. . Then Arthur 
dances in with Madeleine. The hell rings long 
and loudly. '\ 

JIM 

\_Shouting against the hand.'\ 

"Look out; here come the damn police, the damn po- 
lice." 

[Hale and Carlton in dinner jackets come in. 
Tom and Marian stop dancing and greet them. 
Jim goes to dance room after a sign from Marian 
and closes the doors. The mtisic sounds faintly. 
Arthur is standing by Madeleine gazing at his 
father; her hand is on his forearm as tho restrain- 
ing him. Jim, Etta, Maud-Ethel and Ned are 
standing still as tho puzzled and wondering what's 
going to happen. Carlton looks over the whole 
room, his eyes rest on Arthur.] 

hale 
IHeartily.l Here, don't let us interrupt. . . . Go 
on. . . . Dance. . . . [Takes Marian and jazzes sing- 
ing.] 

"In the mornin', in the evenin' 
Ain't we got fim?" 
[Stops; laughs.'] John and I dined together. I told 
[132] 



Act II: NEW YORK 

him I was going to look in and he'd better come along 
and give you his blessing. He can't be at the boat. 
Hello, young people! [Nods to all of the group who 
respond in their several ways. "How are ye?" "So 
glad, Mr. Hale." . . . "Hello, Sportsman!" "How 
d'yer do."] . . . [To Carlton.] As nice a little party 
as anyone could wish, eh? 

CARLTON 

Sure. 

HALE 

Making hay. 

CARLTON 

And they'll be doing it when the sun is shining. 
Fine. [To Marian, holding out his hand.^ How are 
you, Mrs. Carlton? 

MARIAN 

Very well, Mr. Carlton. 

CARLTON 

How's everything going? 

MARIAN 

Wonderfully. 

CARLTON 

Looks like it. Oh, well — ^you have plenty of time. 

MARIAN 

For what? 

CARLTON 

Coming to me, bringing Arthur by the hand, and say- 
ing "Here's exhibit 'A' — Look at him." 

MARIAN 

I will. 



[133] 



THE NATIONAL ANTHEM 

CARLTON 

Sure you will. Don't put off starting too long. 

MARIAN 

I begin tomorrow on the boat. 

CARLTON 

Good a place as any — outside the "three-mile limit." 

MARIAN 

And I'll finish it in Paris. 

CARLTON 

Fine. That's the place to finish things in. Couldn't 
be better. You're starting right anyway. Always begin 
with the hardest part of the job if you want to get any 
place. 

ARTHUR 

[To Hale furiously.] Why did you bring him here? 
[Indicating his father,] 

HALE 

Why not.? 

ARTHUR 

If he speaks to me I'll insult him. 

HALE 

Oh^ come now. Where's the use of that kind of talk? 
[Laughing cheerfully.] Let us all be pleasant and jolly 
together. 

ARTHUR 

[Unsteadily; glowering.] Just come to spy on me. 
. . That's aU. ... To spy on me. 
[134] 



Act II: NEW YORK 

HALE 

Spy nothing! . . . [Ruffling Arthur's hair play- 
fully.] 

ARTHUR 

[Furiously.] Don't do that. And don't laugh so 
damned idiotically. I'm sick of all this laughing and 
noise. Sick of it. Glad to be out of it. All this being 
"Good- fellows." Anywhere for a drink and a jazz. 
Sick of it. 

JIM 

[Trying to talk soberly.] Meaning me? 

NED 

[Also with an attempt at dignity.] And me? 

ETTA 

[To Maud-Ethel, anxiously.] Let's ask Tom to 
take us home. 

MAUD-ETHEL 

Just what I was thinking. [Goes to Tom and speaks 
urgently to him.] 

ARTHUR 

[Has turned to them xmih the sudden ugliness of a 
drunken man.] Yes, both of you. And all like you. 

JIM 

What's the idea, Arthur? 

NED 

What have I done? 

ARTHUR 

I'm thru with this sort of thing. Thru. Can't do any- 
thing without a drink. Can't meet anywhere — but — 
mus' dance. I tell you I'm thru. I am. [Distractedly .] 
[135] 



THE NATIONAL ANTHEM 

JIM 

Who provided the liquor? 

NED 

And drank most of it? 

JIM 

Who brought the band? 

ARTHUR 

I did. And more fool me. [Presses his forehead.'] 
Nightmare. That's what it is. Nightmare ! Noise. 
Screaming. Silly laughing. All jumbled up in here. 
[Almost shrieking.] It'll drive me mad. 

[Marian goes anxiously to him. Carlton slowly 
follows.] 

MARIAN 

Arthur ! 

ARTHUR 

[Catches his father's eye fixed on him contemptu- 
ously.] Don't you speak to me. Don't you come near 
me. You have no right to be here. I didn't send for 
you. I'm free of you. Free. That's what I am. 

HALE 

[Goes to the other side of him.] Now'what's the 
use 

ARTHUR 

Oh, let me be ! 

CARLTON 

I didn't want to come, believe me. Your father-in- 
law thought it would be a pleasant little surprise for 
you. 

HALE 

Yes, I did. And 

[136] 



Act II: NEW YORK 

ARTHUR 

[^Screaming.'] Pleasant? There's never been a mo- 
ment in all my life it's been pleasant to see you. [To 
others.l My father! Brought me into the world — 
then let me shift for mj^self. And this is v/hat he's 
made of me ! This ! I hate the sight of you. Every- 
thing about you. By God — I'd like to smash you! 
Smash you ! 

[Rushes at him. Marian gets between them; he sud- 
denly staggers; she drags a chair from near her; 
he falls into it panting and holding his head itu 
both of his hands.l 

MARIAN 

Ned — Jim [They go to her-l Take him in there. 

[Pointing to door.^ 

[TTie two men become almost sober. They go each 
side of Arthur and help him up.^ 

JIM 

Come along. 

NED 

You'll be all right. 

JIM 

Just lie down for a bit. 

NED 

Here we are. 

JIM 
All our fault. 

[Marian goes to the door of Arthur's room and 

opens it. The t7vo men help Arthur into the room 

— he goes without protest — in a state of collapse.^ 

[137] 



THE NATIONAL ANTHEM 

JIM 

[To Marian.] Don't worry. We'll manage. 
[Closes the door.} 

MARIAN 

[To Madeleine.] Stay with me tonight. 



MADELEINE 



All right, Marian. 



MARIAN 

[To her father, indicating Carlton.] Take him 
away. I'll see you at the boat. 



Don't be upset. Arthur's a little excited. And very 
natural. Hasn't he a perfect right to be? The night 
before? Sound as a bell after a few hours' sleep. Good- 
night. [Pats Marian's shoulder; she is standing some- 
what dazed trying to collect her thoughts; Hale goes to 
Carlton.] Come on. Pity I brought you. 

CARLTON 

Pity I let you. [Goes to Marian.] Sorry I spoilt 
your party. 

[Marian makes a gesture for him to go. She is in 
distress. Both men go into the passage out of 
sight."] 
[Marian left alone with Madeleine gives way to the 
tension; shivers, sobs, then breaks down and cries. 
Madeleine takes her in her arms and tries to quiet her; 
she chatters.] It was terrible! Terrible! What am I 
going to do? What can I do? — You won't leave me? 
[138] 



Act II: NEW YORK 

MADELEINE 

No, dear. I'll stay with you. 

MARIAN 

I'm frightened. It's the first time he's done that — 
since we've been married. . . . He's like a different hu- 
man being. — I'm frightened. 

[Ned and Jim come in from Arthur's room, closing 
the door softly.'] 

JIM 

[To Marian, very quietly. ~\ He's asleep. We put 
him to bed. Nothing to worry about. . . . We're so 
sorry, Marian. 

NED 

Very, very sorry. — He'll be quite all right. — Often 
been like that with us. — Won't know a thing about it 
when he wakes up. 

JIM 

He'll be fine in the morning. 

MARIAN 

Please go back to the others. And — don't say any- 
thing. 

JIM 

Not a word. 

NED 

Sure. 

JIM 

I feel it is all our fault. 

MARIAN 

Please go in. I'll follow you — in a few mlnates. 
[139] 



THE NATIONAL ANTHEM 

JIM 

All right. I am sorry. 

NED 

So am I. Very sorry, Marian. 
{They pass out and go into hall-room, the music rising 

as they open the doors and fading when they 

close if.] 

MADELEINE 

Why don't you go to your room and let me make your 
excuses ? 

MARIAN 

[Wiping her eyes.'\ No. — No. — I must go back. 
Bring me some powder. [Pointing to door.'\ In there. 
By the mirror. 

[Madeleine starts to go."] And the smelling-salts. 

[Madeleine goes into room.'\ 

[Marian goes to door of Arthur's room and listens; 
lopens it slightly, listens, then closes it; her eyes 
rest on the refreshment table; goes to it, finds a 
clean glass. Searches for a champagne bottle with 
some left in it; finds one; fills the glass, drinhs, 
coughs, makes a wry face, drinks the remainder, 
just as Madeleine re-enters and goes to her with 
smelling-salts and powder. Marian holds up the 
empty glass.^ 

I may be up for hours. 

[Puts glass down, sniffs salts, powders her face, then 
with Madeleine goes into ball-room; as she opens 
the doors the music swells and vaices heard chant- 
ing. 1 

[140] 



Act II: NEW YORK 

"In the morning, in the evening, 
Ain't we got fun !" 

l^The band crashes with every one of the wonderful 
instruments used in the delectable jazz dance in 
full play. The beat of the tom-toms, the blowing 
of whistles, the mocking of the laughing-Iwrn — all 
unite in a paean of glorification of modern joyous- 
ness.^ 

"Oh! Ain't we got fun!'* 



END OF ACT II 



[Ul] 



Act III: PARIS 

A luxuriously-appointed sitting-room in a Parisian hotel. 
Faintly from the near-distance comes delicately into 
the room some new compositions for the modern ball- 
room, dance^hall and cabaret. The same taste in 
dance-music seems to prevail amid all classes at- 
tracted by the modern rhythmic movements in all 
civilized countries. The dance-hall is the one assem- 
bly where all meet on a common basis. How common 
is entirely point-o'-view. 

Madeleine Trent is standing near the mantelpiece, her 
eyes on some new photos of Marian, while her ears 
are titillated by the ubiquitous measures that float in 
from the tireless band. 

The telephone-bell rings in the room. 

Madeleine goes to it and takes off the receiver, 

MADELEINE 

Hello — Hello. Are you there? Yes. . . . yes. . . . 
This is Mr. Carlton's room. . . . No. . . . They're not 
in. . . . Yes, I will. . . . Wait — I'll get a pencil. . . . 
[Looks around, finds pencil and pad on writing desk. 
Takes up receiver.^ Yes — yes — Hello. . . . There's 
such a buzz . . . spell it please. . . . C-a-r-r-o-l — Tom 
Carrol? You, Tom? . . . This is Madeleine — Made- 
[142] 



Act III: PARIS 

leine Trent. [Laughs.] I didn't recognize your voice 
either. There's such a buzzing. Where are you? Oh. 
Well, why not come up ? DO. They can't be long now. 
They know I'm calling. Yes. All right. 

[Hangs up receiver; smiles with real pleasure, hum- 
ming the distant dance-music and dancing to it. 
Surveys the room. Goes to piano and huw,s over 
the music and sings snatches of the songs she finds. 
Ring at door. She calls, "Come in. — Oh, wait. 
I do'n't know if it's open." Hurries to the door 
and opens it. Enter Tom. They greet each other 
•warmly.] 

TOM 

What are you doing here.'' 

MADELEINE 

Several of us came over to see the play at the Vaude- 
ville. We fly back tomorrow. 

TOM 

You're still playing in London, I see. 

MADELEINE 

Yes. It looks like going on forever. 

TOM 

Isn't that splendid? 

MADELEINE 

And they're so nice to us. 

TOM 

Why shouldn't they be? Aren't we nice to them in 
New York? 

[143] 



THE NATIONAL ANTHEM 

MADELEINE 

They've done so much to make us feel at home. I 
love it. — What are you doing here? 

TOM 

Just business. I'm going to Brussels in the morning. 
I would have liked to have seen Marian — and Ar- 
thur — to say "good-bye." 

MADELEINE 

Haven't you seen them? 

TOM 

Not Arthur. He was never up when I called in the 
day, and always out when I called in the evening. 

MADELEINE 

Oh? [Seriously.^ 

TOM 

Marian and I had lunch yesterday and looked at the 
shops afterwards — for awhile. 

MADELEINE 

How is she? 

TOM 

Quite well — I think. 

MADELEINE 

You think? 

TOM 

Oh, yes, quite well. 

MADELEINE 

And happy? 

TOM 

I suppose so. 

[144] 



Act III: PARIS 

MADELEINE 

That means she isn't? 

TOM 

Well ... I don't think she is, altogether. 

MADELEINE 

I was afraid she wouldn't be. 

TOM 

They'd better have remained in the United States. 

MADELEINE 

I see. [Nods understandingly.] I have had a few 
letters from her. Quite incoherent. Nothing about her- 
self — really. Nothing I wanted to know. Always 
promising to come to London. But she's not left Paris, 
has she? 

TOM 

No. 

MADELEINE 

Why do they stay here? 

TOM 

Her husband likes it. 

MADELEINE 

Out every night? 

TOM 

I guess so. Every night I've been here. 

MADELEINE 

What a shame ! What a great shame ! 
[145] 



THE NATIONAL ANTHEM 

TOM 

Yes. It is. 

MADELEINE 

[Thinks.^ I adore Marian. You used to — didn't 
you.? 

TOM 

[Softly.'] Yes. 

MADELEINE 

And she was always talking of you. 
[ToM gets up and walks about.'] 

[Madeleine goes to him; puts her arm thru his.] 
You loved her? 

TOM 

Yes. 

MADELEINE 

And you do still? 

TOM 

[Hoarsely after a pause.] Yes — yes. I do. I do. 
I'd give the rest of my life if I could know she was 
out of here — back home. Anywhere, away from this 
cursed, damnable, destructive living Destructive bodily 
and mentally. 

MADELEINE 

Does she like it? 

TOM 

No. I'm sure she doesn't. Down in her soul she 
hates it. She must. — Oh, what's the use? 

MADELEINE 

Just drifts with Arthur? 

TOM 

That's it. Just drifts . . . with him. 
[146] 



Act III: PARIS 

^MADELEINE 

No influence over him? 

TOM 

[Shakes his head.] No. 

MADELEINE 

I was afraid when they married. 



I knew. I knew! 

MADELEINE 

Yet I always hoped she might . He was so charm- 
ing, so agreeable, so amusing — when he was himself. 

TOM 

That wasn't himself. His real self. His real self is 
sitting now in some den. Shouting to drown the racket 
. . . drinking to keep up his flagging spirits and danc- 
ing as tho that was the be-all and end-all of life. 
And Marian sits with him. God ! What a wretched, 
wretched waste ! 

MADELEINE 

Why doesn't she take him back to America.'' She'd 
have some chance there. She has none here. 

TOM 

That's what I begged her to do when she was with 
me yesterday. I entreated her. But, no. "Wlien he 
wants to," she said. "When he wants to." [Stops in 
front of Madeleine.] Back in my mind I have a hor- 
rible fear. That she likes it! Doesn't want to go. 
[147] 



THE NATIONAL ANTHEM 

MADELEINE 

Oh, no. 

TOM 

It's in her blood. In her mind. 

MADELEINE 

It can never be in her soul, Tom. I know Marian. 

TOM 

How long can the soul last against contamination like 
this? It's such a waste. Such a waste. \^Sits with his 
hands clenched, his head lowered.] Horrid! Brutal! 
Marian ! Marian ! 

MADELEINE 

[Goes to him, puts her hand on his shoulder.] Don't 
give up hope. I don't. Somehow I can't think of Ma- 
rian as — as [Breaks off.] 

TOM 

That's it. Neither could I. Until yesterday. She's 
changed. Almost unrecognizable. Things she says — 
laughs at. In just a few months. That beast! That 
beast! I'd like to [Under his breath.] Beast! 

MADELEINE 

Ssh— Ssh— I 

TOM 

[Abruptly.] I'll go. If I met him I might — I might 

Better I don't. Say "Good-bye" to Marian for 

me — not before him. And do what you can, will you? 

MADELEINE 

Yes, Tom. I'U do what I can. 
[148] 



Act III: PARIS 

TOM 

[Pressing his forehead.] Seeing her has taken the 
heart out of me. I don't want to stay abroad. I want 
to go back. Creep away where no one knows me. Hide. 
[^Suddenly ; fiercely.] It wouldn't hurt so much if she 
were happy. But to see her smile with no light in her 
eyes: to hear her laugh with no music in her voice. 
[Breaks off suddenly.] Good-bye, Madeleine — I'll see 

you [groping for door] sometime 

[As he opens the door the dance-music swells.] Bah 

— that petty, damnable, insane [Bangs door behind 

him; the music becomes fainter but is still quite dis- 
tinct.] 

[Madeleine stands thinking. She is very much moved 
and distressed. She looks after him, then goes to 
writing desk, sits and starts to write a note when 
the outer door opens and shuts. Marian enters. 
She is more than a little intoxicated and gives way 
to mirthless laughter, crying, hysteria, anger, weak- 
ness as the moods strike her.] 

MARIAN 

[Staggers down to Madeleine.] Sorry I'm late. 
[Kisses her.] Couldn't get away. [Throws off her 
cloak.] 

MADELEINE 

[Shocked at Marian's changed appearance and her 
condition: faintly.] Where's Arthur? 

MARIAN 

Don't know. 

[149] 



THE NATIONAL ANTHEM 

MADELEINE 

Oh? 

MARIAN 

Went off. Left me. Some of the others brought me 
back. We've had an awful row. Awful. He was just 
horrid. He shouted and bawled. Rushed away. Damn 
rotten of him. 

IGoes to table and pours herself a drinh,~\ 

MADELEINE 

[Looking at her in horror and pity. She can hardly 
believe it's the same Marian.] What did you quarrel 
about .'' 

MARIAN 

It's been coming. Had to be sometime. Can't keep 
the clip we've been going up all the time. Should say 
not. [Drinks.'] I said I would come home once. 
Wanted to see you as much as anything. And I'm so 
tired of it. So tired. [Sits back on couch.^ Hate the 
sight of them. Same faces every night. Same beastly, 
silly jokes. Same jazz. And all of us drunk. We can 
do that in New York. Why come to Paris? My head! 
It throbs and throbs. [Closes her eyes.] 

[Madeleine goes to her and puts her hand on her 
forehead. Marian opens her eyes and smiles up at 
her.] 

Nice Madeleine. Cool Madeleine. Hand cool. Head 
cool. Life cool. Lucky Madeleine. [Closes her eyes.] 

MADELEINE 

Let me make you comfortable. 
[150] 



Act III: PARIS 

MARIAN 

No. Don't want to be comfortable. Just lie here for 
a bit. All right in a minute. If only my head would 
stop lifting up and down. Your head ever lift up and 
down? Of course not. Too cool. Nice Madeleine. 
What are you doing in Paris ? 

MADELEINE 

I came to see the play at the Vaudeville. 

MARIAN 

Good.? 

MADELEINE 

Very funny. But why always the same? Three acts 
of undiluted nastiness. Why? 

MARIAN 

So much of it all around, I suppose. Always have a 
few plays like that in New York. We are nasty. 
Enough of us. So they write plays for us. You 
wouldn't play in 'em? 

MADELEINE 

No. I'd rather give up the theatre. 

MARIAN 

Sure. Anything in that glass? 

MADELEINE 

Don't you think ? 

MARIAN 

No, I don't. [Sharply; gets up; fills glass.'] 

MADELEINE 

Marian ! 



[151] 



THE NATIONAL ANTHEM 

MARIAN 

It's all right. I'm all upset. Can't bear being 

shouted at and abused — and [Drinks.] Had 

supper? 

MADELEINE 

I'm going to presently. 

MARIAN 

Have it here. 

MADELEINE 

They're waiting for me in the restaurant downstairs. 

MARIAN 

Who are.'' 

MADELEINE 

The manager and the author of the play. 

MARIAN 

Cut them out and stay with me. 

MADELEINE 

I can't very well do that. 

MARIAN 

Why not? 

MADELEINE 

I came over with them. 

MARIAN 

Don't make any difference. 

MADELEINE 

Now let me loosen you. 

[152] 



Act III: PARIS 

MARIAN 

I don't want to be loosened. And I don't want to be 
left alone. You've got to stay, Madeleine. 

MADELEINE 

I can't. Really, I can't. 

MARIAN 

Why not? 

MADELEINE 

They brought me. 

MARIAN 

They see you every day. First time I've seen you 
since I left New York. [Laughs foolishly.] Seems 
about ten years ago — since left N'york. Ten years. — 
Loved it at first. Hate it now. Wish I was back. 

MADELEINE 

Why don't you go back? 

MARIAN 

Arthur won't. Wanted him to tonight. Swore at me 
— in public. Nice, wasn't it ? Swore ! 

MADELEINE 

How long will you let him go on like that? 

MARIAN 

Let him? I have no influence over him. Does as he 

likes. 

MADELEINE 

Oh, Marian! Marian! 

MARIAN 

What? 

[153] 



THE NATIONAL ANTHEM 

MADELEINE 

I hoped everything would be so different. 



» Did ye? Suppose ye did. Well^, it isn't. [Thinking; 
chuckling to herself.] I was going to reform him. Only 
drink noAV and again — when he wanted to — like father. 
Well, he does. Not like father, though. Arthur 
wants it all the time. Takes it, too. He's reformed 
me. Someone had to be reformed. It's me. [Fin- 
ishes glass. The music rises: she dances to it.] 
Arthur's idea. Took our suite near the private dancing- 
rooms. Have a dance there most every night. We 
generally drop in before we turn in if we know who's 
giving it. Don't seem so bad when you're wobbling 
about. Can't think while you're doing it — or feel. 
[Sings.] 

"In the morning, in the evening, 
Ain't we got fun." 
[Suddenly breaks off and sinks on couch: glass slips 
from her fingers; she presses her head.] Oh ! 

MADELEINE 

[Takes up glass. Puts it on table. Takes Marian's 
hands.] Lie back, dear. Relax. 

MARIAN 

I wish my head would stop. Do you know, Made- 
liine, the louder the band plays the sadder I get. I 
feel as tho I were stretched on a cross. . . . Don't leave 
me, Madeleine. 

[154] 



Act III: PARIS 

MADELEINE 

I must. 

MARIAN 

I thought we were friends. 

MADELEINE 

We are. 

MARIAN 

Wouldn't think it. You go away and leave me to my- 
self. Fine friend. Put the others before me. 

MADELEINE 

I'm their guest, Marian. Do be reasonable. 

MARIAN 

I don't want to be alone. IShivers.'] I got the hor- 
rors. He glared at me tonight as tho he'd like to kill 
me. Let him. What a muck ! Won't they laugh at me 
back home ! I was going to do so much. Hell of a lot 
I've done. Ha! [Closes her eyes; mutters; opens them. 
Looks at Madeleine jirst with both eyes, then with 
one.^ You do look funny standing there — so solemn. 
Don't look so solemn. Makes you look old. Not the 
same bright, happy Madeleine, up to any mischief. 
You're not the same. I'm not either. Am I? 

MADELEINE 

No, Marian, you're not. 

MARIAN 

Don't like me so much as you did. Do you? 

MADELEINE 

[Impulsively kneels down beside Marian and puts her 
arms around her.] Every bit as much, Marian. Every 
[155] 



THE NATIONAL ANTHEM 

bit. But you make me ache. Oh, Marian, throw it all 
up. Go back. This will only be a wretched dream. A 
nightmare. You'll wake out of it. Don't let this city 
beat you. Don't let it. Throw it off. Go back. I do 
like you just as much. Go back, Marian. 

MARIAN 

He wouldn't, 

MADELEINE 

Then go back alone. He'll follow you. 

MARIAN 

He wouldn't. 

MADELEINE 

Go back anyway. 

MARIAN 

Don't want to leave him. Get laughed at. Every- 
body laugh at me. No. Couldn't stand that. 

MADELEINE 

What if they did? What does it matter? 

MARIAN 

Couldn't stand it. 

MADELEINE 

You'd bring him to his senses if you left him. 

MARIAN 

No, I wouldn't. They're all muddled. Never draws 
a sober breath now. Never. 

MADELEINE 

If only you hadn't come here. 
[156] 



Act III: PARIS 

MARIAN 

Wish to God I hadn't. My fault. Too sure of my- 
self. He'd have gone anywhere I wanted him to then. 
Loved me, then. Now he'll do nothing I want. Hates 
me. [Suddenly breaks down and cries.] Oh, I'm so 
unhappy. So miserable. [Clings to her.] Don't leave 
me, Madeleine. Don't leave me. 

MADELEINE 

I wish I didn't have to, but I must. Come, let me put 
you to bed. 

MARIAN 

[Shivers and cries.] I don't want to be put to bed. 

MADELEINE 

I'll come around the first thing in the morning. 

MARIAN 

Don't you dare. That's the only time I sleep. Can't 
sleep when it's dark. When the sun comes streaming in 
I sleep for hours. Hours. Half the day. 

[Madeleine rises.] Going.'' 

MADELEINE 

I must. 

MARIAN 

All right. [Sullenly.] 

MADELEINE 

I'll just stay awhile and come back. 

MARIAN 

You needn't. 

[157] 



THE NATIONAL ANTHEM 

MADELEINE 

That's what I'll do. Put in an appearance, make an 
excuse and come back. I'll stay then as long as you 
want me to. 

MARIAN 

Leave me now in all this and I never want to see you 
again. 

MADELEINE 

Just close your eyes and rest, and I'll be back before 
you have time to miss me. 

MARIAN 

Miss you ? / won't miss you. Go back to your friends 
and don't come near me again. 

MADELEINE 

[Goes to door — opens it — the music swells.1 I won't 
be long. You'll see. 

MARIAN 

Madeleine! Are you going to put me to bed? 

MADELEINE 

Why, of course. [Closes door. Goes to her.'] 

MARIAN 

No. Changed my mind. I'll stay here. You will 
come back? 

MADELEINE 

[Joyfully putting her arm around her.'\ In just a 
few minutes. Now come. 

MARIAN 

Let me alone. [Goes to couch.} You won't come 
back if there's any fun. I know people now. All right. 
[158] 



Act III: PARIS 

Stay and have it. [Her eyes rest on the bottles.] I'll 
have my own. [Staggers to the table and takes up 
glass.] 

MADELEINE 

No, Marian. No more. [Marian glares at her.] 
It's so bad for your head. 

MARIAN 

You think I'm drunk, don't you? 

MADELEINE 

[In distress.] Oh, my dear! 

MARIAN 

Well, I am. Every bit of me except the part I want 
to stupify. [Presses her hand on her forehead.] It 
aches but it lives — My eyes won't focus. My feet won't 
obey me. But my brain throbs on in a sober panic. . . , 
It's terrible not to be able to stop thinking. 

MADELEINE 

Come. Lie down. [Helps Marian to couch.] 

MARIAN 

[Sinks onto couch and lies back.] My nerves seem 
strung on little hot wires. [Closes her eyes.] 

MADELEINE 

[Strokes Marian's temples.] Tom was here. 

MARIAN 

Tom ? When ? 

MADELEINE 

Just before you came in. 

[159] 



THE NATIONAL ANTHEM 

MARIAN 

Why didn't he wait? 

MADELEINE 

He did. As long as he could. He's off early in the 
morning. He asked me to say "Good-bye" for him. 

MARIAN 

I wish he'd waited. I'd have liked to see Tom. 

MADELEINE 

[Co7itinues to soothe Marian until she sleeps; then 
bends down and kisses her; creeps quickly to door, opens 
it and goes out, closing it quickly after her. The blare 
of the music screams into the room as the door opens: 
Marian springs up, stands distractedly, swaying back- 
(vard and forward, bewildered; mutters to herself: then 
goes to the phone; takes off the receiver.^ I want the 
Hotel Crillon— Crillon ! 

[Waits, nods her head and sways her body to the 
music.'\ Is that the Crillon? — Is it? Oh — I want to 
speak to Mr. Carrol — Mr. Tom Carrol. T-O-M — 
C-a-rrol ! That's what I said. All right. — Please. 

[JVaits again, the music swells and she nods and moves 
to it.] Hello! That you, Tom? Marian! Yes. Why 
didn't you wait? But — why didn't you? Just after 
you went. The moment after. No — she's gone. She's 
left me. Yes. I don't know. The people she came 
with. No. I'm all alone. And I'm so wretched. Yes, 
I am. Everything's all wrong, Tom. Yes, it is. Got 
up and left me. I don't know where he's gone. I 
didn't want to stay out tonight. I wanted to go home. 
[160] 



Act III: PARIS 

I knew Madeleine was coming. And I thought you 
might. Yes. I wish you'd waited. I'm most unhappy. 
I know. He's horrid to me now. What can I do.'' Oh, 
but you know, how could I? Madeleine's been saying 
that. But it would look so cowardly running away. 
Yes, it would. Oh, yes, it would. It's my fault — my 
fault entirely. Has been from the first. Yes, it has. 
I thought I could make something of him. Yes, I did. 
He's made something of me. Yes, he has. I know. I 
saw it in your face yesterday. Yes, I did. I felt it in 
the way you spoke to me. Yes, I did. You seemed 
ashamed of me. Yes, you did. And I feel ashamed of 
myself. Always ashamed now. Yes, I am. [^Looking 
at bottles.] Quite a good deal. Yes, I have. And I'm 
going to have more. Then I don't feel so miserable. 
I'm so wretched now I could kill myself. Yes, I could. 
I've got the horrors to-night. All alone. Yes. And my 
head. It's spinning. The worry and misery of every- 
thing. No! No! No! I can't! I'd just be awake 
staring at nothing. Thinking. Regretting things. 
Serves me right. I've treated everyone badly for him. 
Yes, I have. I treated you dreadfully. Yes, I did. I 
didn't know how badly until yesterday. You looked so 
sorry for me. And so ashamed for me. I could have 
cried. [Her voice begins to break; tears come in her 
eyes.] You don't know how I felt seeing you. I hate 
the people I'm going with. I do. Hate them. And they 
hate me. Yes, they do. Arthur hates me. Yes, he 
does. [Crying bitterly.] I wish I were dead. If this 
goes on I'll kill myself — really I will. I've got to such 
[161] 



THE NATIONAL ANTHEM 

a state now that if I see Arthur looking at me as he 

did to-night I'll— I'll 

[Arthur bursts into the room: his left hand is ban- 
daged in black. ^ 

MARIAN 

[She gives a cry.^ Oh! 
[Hangs up the receiver. 1 

ARTHUR 

[In an ugly drunken mood.] Who are you talking 
to? [Bangs the door and stands glaring unsteadily at 
her.'] 

MARIAN 

Tom. 

ARTHUR 

What were you saying about me? — I heard my name. 
— What were you saying? 

MARIAN 

Telling him how you treated me tonight. 

ARTHUR 

Oh, were you? What business is it of his? [She 
walks away, crying.] Lunched with him yesterday, 
didn't you? 

MARIAN 

Yes, I did. [SinA;* back onto couch.] 

ARTHUR 

I know you did. The Hayes saw you and told me. 
Why didn't you tell me? 

MARIAN 

I didn't think to. 

[162] 



Act III: PARIS 

ARTHUR 

What? 

MARIAN 

I didn't think of it. 

ARTHUR 

Don't have him around because I won't stand for 

it. See.? 

MARIAN 

He's going away tomorrow. 

ARTHUR 

That's all right. Let him stay away. 

MARIAN 

All right. 

ARTHUR 

Sorry you didn't marry him. Ain't you? 

MARIAN 

He wouldn't treat me the way you have. 

ARTHUR 

I'm sorry you didn't, too, if it comes to that. Always 
making a fuss. I've given you a good time. Haven't I? 
What are you kicking about? My friends not good 
enough for you. Everything I do wrong. I'm sick of 
it. Sick of it. I'm going to do as I like. D'ye hear? 
Just as I like. 

MARIAN 

Don't — don't shout at me, Arthur. You've always 
done as you liked. 

ARTHUR 

And I'm going to keep on doing it. See? What's 
the matter with staying out tonight? You've done it 
[163] 



THE NATIONAL ANTHEM 

before. Why make a grand-stand play about tonight 
in front of my friends? 

MARIAN 

I wanted to see Madeleine. She's been here. And I 
don't feel well. My head aches so. 

ARTHUR 

You drink too much, that's what the matter with you. 
You mix everything. — Stop it. D'ye hear? Make an 
old woman of you. 

MARIAN 

All right. Let us both stop it. Shall we^ Arthur.'' 
I will. Will you? 

ARTHUR 

No, I won't. — I'm used to it. — Don't hurt me. . . . 

But you .' A couple of glasses and jon laugh and cry 

like a crazy woman. — Cut it out. . . . Not before my 
friends. Made me sick tonight the way ye carried on. — 
Crying as tho I beat you. If jq don't like my friends 
stay home. — Good job, too. 

MARIAN 

[Anxious to conciliate him.'] All right, Arthur. I 
won't make a fuss again. . . . Sorry I did tonight. . . . 
But I did feel very badly. — I do now. I suppose it is 
because I mix things. I'll stop. . . . And I won't ask 
you to. I'll never ask you not to do anything again. 
Everything you do will be right if only you will take me 
back to America. . . . Please take me back to America. 

ARTHUR 

When I'm good and ready. 
[164] 



Act III: PARIS 

MARIAN 

[Shivering in terror.] No. — Noxv. As soon as you 
can get a passage. Now! There's something evil here. 
In the way we live. It's evil. Do let us go back to our 
old jolly life where we laughed and played and loved 
each other. Will you? — You don't love me — now. Do 
you.^ 

ARTHUR 

No, I don't. And it's your own fault. 

MARIAN 

Perhaps it is. — I'm sure it is. — But give me a chance. 
— Away from all this. . . . Your love will come back. 
... I can't look my best or be my best in this kind of 
life. I can't. ... I'm unhappy all the time. — Take me 
back. . , . We'll have good times again. — And we'll for- 
get all this. . . , We'll be just as we used to be, Arthur. 
. . . It's as tho some hideous thing has come between 
us. . . . You were so nice to me until we came here. . . . 
Now we hardly see each other — except with a lot of 
people. 

ARTHUR 

They're my friends. And I like them. If you don't 
you can stay away. 

MARIAN 

Don't say those things. . . . Don't speak to me so 
roughly. . . . Oh — my head hurts so — I can't say just 
what I want to. . . . But I feel somehow as tho I were 
pleading for my life. . . . Because — because — I can't 
go on living like this! . . . I'd rather end it. I'd rather 
end it. I'd rather end it. [Cries bitterly.] 
[165] 



THE NATIONAL ANTHEM 

ARTHUR 

That's champagne-and-whiskey talking. . . . Make 
anyone feel like that. You stick to one or the other. 
... Or nothing. That's the best for you. . . . Noth- 
ing. 

MARIAN 

[She shudders at his utter callousness. Then after a 
few minutes.] You won't take me back to America.'' 

ARTHUR 

When I feel like it. I don't now. 

MARIAN 

All right. I don't know what is going to happen to 
me. [Sinks back on couch.] The whole world is tum- 
bling around me. [Closes her eyes.] 

ARTHUR 

Go back to America ! Not me. Just when I'm settled 
here. Know the right people. . . . It's a wonderful 
city — Paris. New York's a village compared to it. Lot 
of tough hicks. . . . Here you can see real life. . . . 
Don't care if I never see New York again. . . . What 
they think is enjoying themselves! . . . No wonder they 
laugh at us. . . . Sneaking our drinks in public. Boast- 
ing about it in private. . . . Can't talk to a fellow five 
minutes before he begins bragging about what liquor 
he's got and what he's going to get. ... I was the 
same. . . . Hicks, that's what we are. Here they drink 
like gentlemen and never say a word about it. . . . Part 
of their lives. . . . This country isn't run by a lot of 
[166] 



Act III: PARIS 

old women in trousers telling you what you should and 
what you shouldn't do. . . . Here they live free and 
open and are glad to see you. . . . Good times ! . . . 
We don't know what they mean. Damned lot of hypo- 
crites we are. . . . Never knew what "fine living was 
until I came here. . . . Look thru the streets of Paris ! 
Is there a "don't"-sign anywhere.^ . . . Greatest peo- 
ple on earth the French. Give me Paris every time. I'd 
like to live and die here. So just make up your mind to 
that. We're not going home — yet. See.^ 

MARIAN 

[Dully.] All right. Don't shout at me. 

ARTHUR 

So make the best of it. . . . Stick to a glass or two 
of champagne and be satisfied. . . . Cut out the hard 
stuff. You haven't got the head for it. . . . Then you'll 
be all right. . . . And don't be so stand-off-ish with my 
friends. Get to know 'em real well and you'll be crazy 
about 'em. . . . You used to like a bit of fun. 

MARIAN 

[Shudders.] Not this kind. ... I never knew it — 
until I came here. 

ARTHUR 

And you never will after you get back home. So 
what the hell ! . . . Do as the others do. . . . Don't 
hurt anyone. . . . Not married people. . . . Now put 
on your wrap. The car's outside. I came back for some 
money. . . . Didn't intend asking you again. But it's 
[1G7] 



THE NATIONAL ANTHEM 

all right now. . . . I'll forget it. . . . Come along. 
We'll fix up your head at a drug-store. . . . And for 
God's sake don't cry all over the place. . . . It's all 
right. . . . Now. . . . Come on. 

MARIAN 

No. I'm not going out. 

ARTHUR 

Oh, ye're not? 

MARIAN 

No. And I'm not going to meet those people again. 
Every nignt we go to a noisier, dirtier place. Every 
week your friends get worse. 

ARTHUR 

What's that? 

MARIAN 

I've done everything you wanted me to. I've lost my 
looks, my spirit, but not quite lost my decency. ... I 
am not going with you to those places again. ... I'm 
going back home on the first steamer. 

ARTHUR 

You mean that? 

MARIAN 

Yes. I'll see about it tomorrow. 

ARTHUR 

Suits me. 

MARIAN 

You can follow me when that suits you. 

ARTHUR 

Bet your life I won't until it does. 
[168] 



Act III: PARIS 

MARIAN 

So. . . . This is what our marriage has come to? 

ARTHUR 

Whose fault is it? 

MARIAN 

Mine, I suppose. 

ARTHUR 

Bet your life it is. You knew what / was like. I 
made no pretense. Did I ? 

MARIAN 

No. But I — thought — it — would — be — different. . . . 
So different. 

ARTHUR 

That's the trouble with women — always want some- 
thing different. Never satisfied with people or things as 
they are. . . . You couldn't make me over, you know. 

MARIAN 

I see that now. 

ARTHUR 

No one can. . . . No fear. . . . Make me over! . . . 
Why? I was good enough to marry as I was. Why 
aren't I good enough now? I'm no different. It's you 
have changed. ... I married a nice, sober girl. What 
are you now ? I'm the man you married. You're not the 
rjirl I did. . . . You could have gone my way and every- 
thing'd have been fine. . . . But no one's going to in- 
terfere with me. I won't have it. See? You can't. 

MARIAN 

[Hurt to the quick; realizes the whole thing is hope- 
less.] Your father knew you better than I did. ... If 
[1G9] 



THE NATIONAL ANTHEM 

I had ever dreamed you could have spoken to me the 
way you have nothing would have induced me to marry 
you. ... I only knew the side you showed me. And I 
loved it. — I wanted to keep the best side of you upper- 
most. But I wasn't strong enough. You didn't love me 

well enough. — So it's come to this — this [Rather 

than let him see her cry she goes into the next room say- 
ing as she goes.^ It doesn't matter whose fault it is. 
That is the least thing to consider — whose fault it is. 
It's all so wrong. [Passes third door.] So very, very 
wrong. 

[The door slips from her fingers and bangs noisily. ]i 
[Arthur watches her go out; gives a contemptuous 
laugh. Goes over to table, takes up glass Marian 
has used, smells it, gives an ejaculation of disgust, 
throws what is left in it on the carpet — pours out a 
drink — drinks it — puts glass back. Goes to writing 
desk, takes out keys — unlocks a drawer, takes out a 
wad of French paper-money — stuffs it in his 
pocket. The bell rings continuously at the outer 
door. He locks the drawer and goes unsteadily to 
the door. Throws it open.] 

TOM 

[Enters — breathlessly; anxiously.] Marian.^ She's 
all right.'' 

ARTHUR 

All right? Of course she is. 

TOM 

[Relieved.] Thank God! 

[170] 



Act III: PARIS 

ARTHUR 

All right? What do you mean? 

TOM 

She phoned me just now. She seemed upset. I — was 
— afraid [Stops.'] 

ARTHUR 

That so? 

TOM 

However you say she's ? 

ARTHUR 

I don't see what it has to do with you how my wife is. 

TOM 

I don't suppose you do. 

ARTHUR 

No, I don't. What business have you got coming here 
at this time of night? 

TOM 

I came because I thought your wife was in danger. 
. . . Grave danger. 

ARTHUR 

Did ye ? What of ? 

TOM 

When she phoned me she was in great distress. She 
seemed out of hand. Before I could reason with her she 
gave a cry and cut off. 

ARTHUR 

That's when I came in. 

TOM 

I see. ... I'm sorry I disturbed you. 
[171] 



THE NATIONAL ANTHEM 

ARTHUR 

So am I, And I don't want you to disturb my wife 
either. We're not in America now — understand ? We're 
thru with that rifF-raff. See? And I don't want her 
reminded of it. See.'' [Shaking his clenched hand in 
Tom's face.} 

TOM 

[Closes the doors and walks into the room in front of 
Arthur.] Come here. 

[Arthur staggers down and faces him.'] 
I came here as I would to save any human being, from 
doing a rash, terrible thing. And I warn you if Marian 
does her death will be at your door. 

ARTHUR 

At my door.^ Damned cheek! [Goes to table and lifts 
up decanter.} This is the cause of her whining! This. 
She's drunk — that's what she is. 

TOM 

[Stunned — : slowly.} I don't believe it. 

ARTHUR 



Call me a liar? 
I don't believe it. 



TOM 



ARTHUR 

Call me a liar and I'll punch your head. 

TOM 

Oh, no, you won't. . . . But if you say Marian's drunk 
you're either a liar or a blackguard. Because if she is 
drunk it's you who are responsible. . . . Admit you're 
a liar and let it go at that. 

[172] 



Act III: PARIS 

[With a snarl Arthur rushes at him — Tom quickly 
arid quietly raises his cane and levels it at Arthur, 
moving round in a circle.^ 

TOM 

Don't come too near. . . . I've seen a man lose an 
eye this way. . . . You deserve a good beating. ... I 
wouldn't fight a rat like you . ... I'd beat you. . . . 
Keep your hands up a minute or two longer and I will. 
Drop them ! Do you hear.'' Drop them! 

[Suddenly turns the cane so that the heavily -mounted 

head of it is raised directly above Arthur's head, 

ready to fall. Arthur quails; his hands drop; he 

staggers back.^ 
Sit dov;n there. . . . Don't reel about. [Arthur drops 
into seat — cowed. 1 Now try and get this into your 
muddled brain. . . . You take Marian back to her peo- 
ple, if you haven't the common manliness to take care of 
her. . . . Don't make a mess of her life. I'm going 
away tomorrow for three days. If, by the time I come 
back, you have made no effort to care for your wife's 
wishes, I'll cable her father to come over. More than 
that I'll go to the American consul here and put the 
whole case before him. If her husband won't protect 
her I'll see that some person does until her father 
comes. . . . 

[Marian enters in negligee; she looks very ill. Her 

eyes tear-stained — her voice dull as if in pain.] 

MARIAN 

Tom! Nice of you to come. ... I feel very ill. 
[173] 



THE NATIONAL ANTHEM 

Very ill. My head will drive me mad. Shall I take 
another of these? I took one a little while ago. . . . 
I'm no better. I can't read it very well. My eyes are 
burning so. And the print is so small. [Hands him a 
small phial.^ 

TOM 

[Takes it J reads; becomes quite rigid.'\ You took one 
of these? 

MARIAN 

Yes. 

TOM 

When.? 

MARIAN 

About ten minutes ago. . . . Perhaps a quarter of an 
hour. 

TOM 

Arthur! [With a cry.^ Look! 

[Thrusts the phial into his hand and goes to the 

phone. Keeps ringing several times, then unhooks 

and waits. Arthur rises and reads the label under 

a lamp. Turns and looks at Marian: passes his 

hand over his forehead. At last the connection is 

made and Tom speaks breathlessly into the phone.] 

Is there a doctor in the hotel.'* ... A doctor? . . . 

Isn't there any other ? . . . Send for one. Quickly. Tell 

him it's for someone who has taken poison ! Poison ! 

For God's sake, hurry. 

[Marian gives a cry: "Arthur!" and goes to him.] 

ARTHUR 

Taken one? 

[Putting his hand gently on her forehead.^ 
[174] 



Act III: PARIS 

MARIAN 

Yes. Isn't it for a headache? 

ARTHUR 

[Dully to Tom.] No doctor? 

TOM 

[Taking the phial from Arthur.] He's out. They're 
sending for one. 

ARTHUR 

My car. . . . Outside — I'll go — I know the best — 
Rue de Richelieu. 

[Swings door open — Madeleine appears at door. 
Arthur rushes past her.^ 
Go in ! Marian's 

[Disappears.] 

MARIAN 

[Dazed.] Poison? Oh, no. Is it? Poison? . . . 
Not those . . . [Gives a long low moan.] Oh-h-h ! 
I'm afraid! I'm afraid! 

[Shivers violently; Tom goes one side of her, Made- 
leine the other and they lead her to the couch, chat- 
tering and shivering.] 

MADELEINE 

What is it? Wliat has happened? 

[Tom warns her not to alarm Marian. Hands her 

the phial.] 
[Madeleine looks at the phial horror-stricken.] 
How many did she take? 

[175] 



THE NATIONAL ANTHEM 

TOM 

One. Fifteen minutes ago. Arthur's gone for a doc- 
tor. 

MADELEINE 

Get milk. ... At once — Milk. 

[Tom goes to the phone.} 

No, no. Go down for it. Hurry. . . . Go down! 

[Tom rushes out.'] 

MARIAN 

What have I done? What have I done? {^Crying 
with fear.] 

MADELEINE 

Don't. Don't. [Smoothing cushions.] Lie back, 
dear. The doctor will be here. You'll be all right when 
he comes. 

MARIAN 

Oh, Madeleine ! I don't want to die ! I'm afraid r.o 
die! [Clinging to her.] Don't let me die! 

[The curtain falls with Marian in a state of extreme 
terror and Madeleine trying to soothe her, their 
voices over-lapping for seconds after the curtain 
falls. In from the adjoining room crashes the motif 
from "Madame Butterfly" in its artistic jazz 
setting.] 

end of act m 



[176] 



ACT IV: THE AFTERNOON OF THE TENTH 

DAY 

The same. Afternoon of the tenth day. 

When the curtain rises Madeleine is discovered packing 

books, framed photographs, etc., which she collects 

from the piano and the various tables. 
Tom is sitting, head in hands, staring out into the future. 

MADELEINE 

How many hours' sleep have you had during the last 
ten days? 

TOM 

[Wearily.] I don't know. ... I don't know. . . . 
If the doctor says Marian will live I'll sleep all right. 
Sleep sound. . . . If he tells me she'll 

MADELEINE 



Why not go to your hotel and rest? 



No. I want to hear the doctor's opinion. . . . He 
should know today. . . . He said he'd know today. . . . 
What have you done with Arthur's things? 

MADELEINE 

I've sealed up his papers. 

[177] 



THE NATIONAL ANTHEM 

TOM 

For his father? 

MADELEINE 

Yes, if he wants them. 

TOM 

Fancy lying in there for ten days. . . . Wondering — 
torturing herself. . . . God ! What she must have gone 
thru. Is still. 

\_Suddenly thru the open imndows come the braying 
discord of a jazz-band from the tea-room below. 
With an ejaculation of anger Tom closes the 
window.'l 

MADELEINE 

Don't do that, Tom. It's so hot. [Opens the win- 
dows despite Tom's effort to prevent her.] It's breath- 
less. 

TOM 

They can't even drink their tea without that racket. 
I hate it. [Contracts his shoulders.] 

MADELEINE 

[Proceeding to pack as before.] Put up with it, Tom. 
It's suffocating. 

TOM 

But, Marian.'' 

MADELEINE 

She's two rooms away. I've closed both doors. She 
can't hear it. 

[Telephone bell rings. Tom starts up, expectantly. 
Madeleine goes to the phone.] 
[178] 



Act IV: AFTERNOON OF TENTH DAY 

MADELEINE 

[At 'phone.] Yes. . . . Yes. . . . Oh! How are 
you? . . . I'm so glad. . . . Yes, do. , . . Come right 
up. [Hangs up receiver.] They're here. . . . [Gets 
his hat, etc., goes to him solicitously.] I'll let you know 
the moment the doctor goes. 

TOM 

No, . . . I'll avoid them. . . . I'll wait downstairs. 
I'll come up with the doctor. [Going quickly to door.] 

MADELEINE 

You'd much better go to your hotel and rest comfort- 
ably until I call you. 

TOM 

I couldn't, Madeleine. I couldn't. . . . I'll just — 

just [Goes out.] 

[Madeleine quickly puts articles into the dressing 
case and closes it. Door-bell rings. Madeleine 
opens it, revealing Hale and Carlton. They are 
in traveling clothes, light overcoat over arm.] 

MADELEINE 

[Shaking Hale by the hand, warmly, and bringing 
him into the room,] Oh, I'm so glad. She's been ex- 
pecting you. How do you do, Mr, Carlton? 

HALE 

[Eagerly, anj;iously.] How is she? 
[Carlton follows in, closing the door.^ 

MADELEINE 

Very much better, 

[179] 



THE NATIONAL ANTHEM 

HALE 

She is? 

MADELEINE 

Very much — the last two days. 

HALE 

Will she be— be all right? . . . Tell me. . . . Don't 
be afraid. 

MADELEINE 

I'm sure she will be. 

HALE 

[Hands on her shoulders, looking straight into her 
eyes.'\ Don't say that if you don't think it. 

MADELEINE 

I do think it. 

HALE 

[Wearily passing his hand across his forehead.^ I 
don't know what I'd do, Madeleine. ... I don't know 
— what I'd do. [His hand comes dortm over his eyes.^ 

MADELEINE 

Come in to her. She's a little depressed and weak, so 
don't sympathize. [Smiles at him and holds up a warn- 
ing finger.'] Be surprised she's looking so well. Say 
she doesn't seem to be ill the least little bit. Make her 
laugh, but not too much. Be just as you used to be. 
Come on. 

HALE 

[Nervously, stopping her opening the door.] Has she 
changed much.'' 

MADELEINE 

[Nods.] Yes. Quite a good deal. . . . But you 
mustn't notice it. 

[180] 



Act IV: AFTERNOON OF TENTH DAY 

HALE 

I won't. I won't. . . . I'll be cheerful. . . . Yes, I 
will. [His hand on Madeleine's arm, pleadingly.^ 
She'll live? 

MADELEINE 

Yes. I believe it. You must. She must. . . • Make 
her. 

HALE 

All right. 

MADELEINE 

[Remembering.'] And another thing. Avoid talking 
about Arthur. She doesn't know he's dead. She thinks 
he was hurt — seriously hurt. That he is recovering. 
She is looking forward to seeing him. 

HALE 

Why didn't you tell her ? 

MADELEINE 

The doctor wouldn't let me. 

HALE 

[To Carlton.] You hear that? 

CARLTON 

Yes. 

HALE 

When can she be told? 

MADELEINE 

As soon as she is out of danger. 

HALE 

Then she's not out of danger yet? 
[181] 



THE NATIONAL ANTHEM 

MADELEINE 

1 think she is. I hnow she is. But the doctor will 
take no chance of making a mistake. He put ten days 
as the outside limit. This is the afternoon of the tenth 
day. . . . He'll be here in a few minutes. 

HALE 

[Trembles, tries to speak. '\ If he [Sto'ps.'\ 

MADELEINE 

Don't think that. [Opens door, goes out, opens door 
of Marian's room.'\ Guess who I've brought you.'' 

MARIAN 

[Faintly, from within.'] Father! Has he come, 
Madeleine ? 

HALE 

[Heartily, as he goes in.] Sure I have. Well, well, 
well! Why, you look fine! Not a bit as if you'd been 
sick. [Laughing cheerily.'] Why, you look great! 

[Madeleine closes the door of Marian's room, re- 
enters and closes the door: moves into the room.] 

MADELEINE 

Sit down, Mr. Carlton. 

CARLTON 

[Throws his hat and coat on a chair.] I'd rather 
move about, if ye don't mind. [Looks around the room.] 
This is where they lived? 

MADELEINE 

Yes. 

[182] 



Act IV; AFTERNOON OF TENTH DAY 

CARLTON 

[^Listens to the faint sound of the dance-music.^ Got 
it right here. Close and handy. 

MADELEINE 

She can't hear it. Besides, we're moving her out of 
here today. She's not been well enough before. 

CARLTON 

\_Stops : faces her.'\ How is she? . . . Really? 

MADELEINE 

Very weak. Very unhappy. But I have hope. She's 
so much better than she was. So — much — better. 
[Shivers and sighs.l 

CARLTON 

Been as bad as that? 



MADELEINE 




Yes. 




CARLTON 




Poison ? 




MADELEINE 




Yes. 




CARLTON 




Her father didn't tell me much. . 


. . Accident? 


MADELEINE 




Yes. 




CARLTON 




[Sharply.] Was it? 




MADELEINE 




Yes, it was. 





[183] 



THE NATIONAL ANTHEM 

CARLTON 

ISeverely.l You're telling me the truth? 

MADELEINE 

Mr. Carlton! 

CARLTON 

I see you are. ... I'm mighty glad. ... I couldn't 
get it out of my mind he'd driven her to it. 

MADELEINE 

[Shaking her head decisively. 1 No. 

CARLTON 

Were you here at the time.? 

MADELEINE 

I came just after she'd taken it. 

CARLTON 

Tell me. . . . Go on. 

MADELEINE 

Her head ached. She went into her room and, by 
mistake, took a bichloride-of-mercury tablet. 

CARLTON 

\_Shrewdly, suspiciously.] What was she doing with 
that stuff? 

MADELEINE 

Arthur had injured his hand. She used it as a dress- 
ing for the cut. 

CARLTON 

Cut his hand^ eh? Fighting? 

MADELEINE 

A bottle burst. 



[184] 



Act IV: AFTERNOON OF TENTH DAY 

CARLTON 

Sure. One or the other. Did ye see him — after- 
wards? 

MADELEINE 

Once. He didn't know me. He was never really con- 
scious at any time. 

CARLTON 

Drunk when it happened, eh? 

MADELEINE 

No. He was rushing out for a doctor for Marian as 
I came in. . . . He was nervous, shaken, frightened. 
His car was waiting for him. He drove it to the doc- 
tor's house. Just as he was turning the corner of the 
Rue de Richelieu he smashed into a car. It was not 
altogether his fault. The man was on the wrong side. 
Gave no warning. He was killed too. 

CARLTON 

I know. It was in the papers. 

MADELEINE 

In New York? 

CARLTON 

All over. Oh, yes. It was in the papers. I've had 
a good deal of sympathy. Quite a good deal. An edi- 
torial or two. A few sermons. And quite a boost to the 
reformers. Quite a boost. And they made the most of 
it. I must grant them that. They made a fine job of 
it. He did a lot of good getting out the way he did. . . . 
More, I guess, than he ever did while he was alive. [She 
looks at him a moment in surprise and disgust and turns 
[185] 



THE NATIONAL ANTHEM 

away.} Not used to hear a father talk about a dead son 
that way, are you? 

MADELEINE 

No, Mr. Carlton, I'm not. 

CARLTON 

Did ye know him well.'' 



Yes. 

Very well? 

Very. 



MADELEINE 

CARLTON 
MADELEINE 



CARLTON 

Oh. Well, then, you must know what I mean. Course 
you must. . . . Fine young fella. Strapping. Full of 
health and strength. Just used it up all wrong. That's 
all was the matter with him. Used it up wrong. Bound 
to come smash. If not the way he did, some other. . . . 
Life's too cheap to that kind. . . . Say, if we could get 
the combined energy our young men use up on golf, 
tennis, polo, automobiles and jazz turned into producing 
something, what a country we'd have ! No unemployed. 
Houses for everyone. No one discontented. The wheel 
spinning round full swing twenty-four hours a day. 
. . . There ye are ! They'd be ashamed to do anything 
useful. Arthur was. . . . Well, he saw Paris and died. 
That's all there is to that. 

MADELEINE 

Please don't talk about him before Marian. 
[186] 



Act IV: AFTERNOON OF TENTH DAY 

CARLTON 

Of course I won't. Not a word. I might have spared 
your feelings, too. I wish I had. 

MADELEINE 

Oh, it doesn't matter. It doesn't matter about me. 
But if she speaks of him — and she will — ^just remember 
he was badly hurt. That's all. Just badly hurt. That 
he's getting better. 

CARLTON 

Sure. 

MADELEINE 

It will be terrible telling her the truth when the time 
comes. 

CARLTON 

Terrible? Why? Does she want him to be alive? 

MADELEINE 

Yes, Mr. Carlton, she does. 

CARLTON 

[Amazed.l What d'ye know about that! 

MADELEINE 

She loved him, Mr. Carlton. Loves him still. 

CARLTON 

Does she indeed ? Ye don't say ? Still wants to cling 
on? 

MADELEINE 

That's why it will be so hard to tell her. So don't — 

don't 

[187] 



THE NATIONAL ANTHEM 

CARLTON 

Sure I won't. . . . Still loves him. . . . After all 
these months. . . . That beats me. . . . Guess she's 
been pretty sick all right. 

[^The outer door opens and voices are faintly heard. 
Madeleine warns Mm with a gesture. Hale ap- 
pears, Marian on his arm. She is very white and 
drawn, the dark clothing accentuating her un- 
earthly pallor, and the wide-open, distended eyes. 
Carlton straightens up as he looJcs at her, then 
goes to her and sympathetically holds out his 
hand. ] 

CARLTON 

Glad to find ye looking so strong. Mighty glad. 

MARIAN 

Have you seen Arthur.'' 

CARLTON 

No. Not yet. Came straight here — with him. [Nod- 
ding to Hale.] 

MARIAN 

Be kind to him, Mr. Carlton. They won't let me see 
him. Be kind to him. 

CARLTON 

Sure I will. 

[Goes the other side of her and xvith an attempt at 

gentleness assists her with Hale, to an armchair 

Madeleine has arranged."] 
[188] 



Act IV: AFTERNOON OF TENTH DAY 

MARIAN 

[Smiles gratefully up at Madeleine.] Hasn't the 
doctor come? 

MADELEINE 

He won't be long now. 

MARIAN 

It's the tenth day, Madeleine. The tenth. . . . I've 
counted them. . . . And they've gone so slowly. . . . 
He'll knoi£> today. He'll know! ... I can't bear the 
waiting. . . . Why isn't he here? . . . It's cruel of 
him! . . . [To Hale.] For ten days I've thought only 
of death — death — or life. Which? ... If death, how 
should I meet it? If life, what will I do with it? . . . 
What? . . . Day and night that thought has haunted 
me. . . . All day. All night. . . . Life ? Death ! . . . 
Last night I slept a little. My long waiting was going 
to end. I'd know soon. So I slept, and dreamt. Of 
Arthur. . . . He came to me white and drawn. He 
stood at the foot of my bed. And he pleaded with me — 
pleaded that I should die. . . . He said he had to go. 
I must go with him. ... I entreated him to hold on to 
life. As I had. That it would mean so much more 
to us than it ever had because of the terror and pain 
we'd been through. I begged him not to die. We'd 
live cleaner, think better, for all we'd suffered. We 
must live. And he looked at me so sadly, so pityingly. 
"Poor Marian ! Poor old Marian ! Always making up 
fairy tales. We've done with life, Marian." And I 
woke, shivering. , . . And I prayed that I might live. 
That Arthur might live. [Her eyes rest on Carlton.] 
[189] 



THE NATIONAL ANTHEM 

You see, Mr. Carlton, for the first time in our lives 
Arthur and I have been forced to think. . . . We were 
cut down. ... It must have been Fate beckoned me to 
take that poison and sent Arthur out into the night to 
save me. Fate ! ... It took us out of life, helpless. 
Just to lie for ten days and nights — thinking. ... It 
took him in his strength and crushed him. . . . We've 
been separated — for a purpose. . . . We both see things 
differently now. ... I will never be the same again. 
. . . Nor will Arthur. . . . We'll be "newly arisen" 
when we meet. . . . And life will be so different. So 
very, very different. . . . [Thinking.l If I live! Oh, 
where is the doctor.'' Why doesn't he come? I want 
to know ! I want to know ! 

HALE 

Come ! Come ! Marian ! Where's your courage ? 

MARIAN 

I haven't any. I'm afraid. 

MADELEINE 

Be quiet, dear. 

MARIAN 

[Suddenly, clinging to Madeleine.] Do you think 
he hnows and doesn't want to tell me? Is that why he 
doesn't come^ 

MADELEINE 

Indeed it isn't. He's often a little late. You're not 

his only patient. He'd be here if 

[The hell rings. Marian gives a cry. Madeleine 
[190] 



Act IV: AFTERNOON OF TENTH DAY 

goes to the door and opens it. Tom comes in- 
Marian gives a faint ejaculation of pleasure on 
seeing him.^ 

TOM 

[To Madeleine.] He's in the hall talking to some 
people. 

[Hale and Tom welcome each other warmly: both 
too moved to speak. Hale motions him to go to 
Marian. As Tom moves forward Carlton inter- 
cepts him.] 

CARLTON 

You the doctor.'' 

[Tom looks at him in amazement.] 



[With forced heartiness, trying to Icmgh.] No, John. 

This is Tom. Tom Carrol. Mr. Carlton. 
[Tom and Carlton nod perfunctorily.] 
[Taking Tom to Marian.] My! She'll be glad to 

see you. 

CARLTON 

Sight gladder to see the doctor. 

TOM 

[Taking Marian's hand gently.] Marian! [He can 
say no more — just looks: the change in her strikes him 
dumb.] 

MARIAN 

[Smiling up at him.] Nice of you to come, Tom. 
. . . I've heard. . . . He's been every day, father. . . . 
Every day. 

[191] 



THE NATIONAL ANTHEM 

TOM 

You're much better. Aren't you? 

MARIAN 

Yes, Tom. Anxious. That's all. Anxious. Tired of 
waiting. 

TOM 

He'll be here any moment now, 

MARIAN 

You shouldn't have come every day. Not every day, 
Tom. 

TOM 

I wanted to, Marian. 

MARIAN 

Dear Tom. . . . [To Hale.] He has been worrying 
Dr. Virande to call in specialists. 

TOM 

Why shouldn't he? 

MARIAN 

He did. The last one made me feel I'd get well — for 
a whole day. 

TOM 

He was right. 

MADELEINE 

Of course he was. 

TOM 

You will. 

[Bell rings sharply. All stop to look in direction of 
door. Madeleine opens it softly and Dr. Virande 
comes quietly into the room. He is a slim, shrewd, 
[192] 



Act IV: AFTERNOON OF TENTH DAY 

middle-aged man, dressed as a distinguished Pa- 
risian. He carries a small black bag.^ 

DR. VIRANDE 

Ah! Bonjour! [To Tom, turns to Marian.] And 
'ow is ma petite patient.^ What a colour! Ma foil And 
the eye so bright ! Dear, dear, dear ! Well, well, well ! 
\_As he opens the bag and takes out stethoscope and in- 
strument for taJcing blood-pressure. '\ 

MADELEINE 

[^Nodding toward the three men.] Shall they go into 
the next room.'' 

DR. VIRANDE 

Mais non! Non ! Make no diiFerence ! None at all. 
[Taking Marian's wrist and feeling her pulse: looks at 
watch. Perfect silence. Marian watches him with dis- 
tended eyes. He closes watch with a snap.] What 
'ave you been doing? Your pulse "beat, beat, beat!" 
Your eyes "dance, dance, dance." Don't I tell you: 
"quiet, quiet, quiet? Repose?" [Listens with stetho- 
scope: again Marian stares out into the future. He re- 
moves the stethoscope.'] "Jump, jump, jump!" What 
a heart ! "Pump, pump, pump !" What a girl ! To do 
what you tell her. [To Madeleine.] And what a 
nurse to let her be all excitement ! Why ? But why ? 
Don't I tell you keep 'er so? [Makes gesture of per- 
fect rest.] And 'ere she is. , "Bub, bub, bub." "Ha ! 
ha! ha!" [By this time he has fastened the blood-pres- 
sure instrument.] Very naughty! You not deserve to 
[193] ' 



THE NATIONAL ANTHEM 

get well! Naughty! [To Tom.] You make her this 
way? 

TOM 

llrritabli/.'] No! 

DR. VIRANDE 

Someone do. Ah ! I know I You bring her another 
specialist? Eh? 

TOM 

[Angrily.'] I didn't. 

DR. VIRANDE 

Not SO loud, if you please. [Takes off instrument: 
thinks. Removes his glasses and icipes them.] All 
right. Very good. All finished. 

MARIAN 

[With a cry.] I'll live? 

DR. VIRANDE 

You will live. 

MARIAN 

Madeleine! Father! [Cries as they go to her.] 

DR. VIRANDE 

And now ! What you crying about ? But you should 
laugh ! 

MARIAN 

[Laughing and crying.] I am. Doctor. I am. 

DR. VIRANDE 

You are very lucky. . . . Very. . . . And you should 
be very grateful. 

MARIAN 

I am. I can never thank you enough. 
[194] 



Act IV: AFTERNOON OF TENTH DAY 

DR. VIRANDE 

Thank me? How foolish! [Points to Madeleine.] 
Thank 'er. She save your life. Not me. ... It was 
the milk save you. Not the drugs I give you. The milk 
right away. That is what saved you. IPutting on his 
glasses and looking curiously at Madeleine.] Where 
you learn that? 

MADELEINE 

[Smiling.] My cousin is a doctor. And I've always 
been interested in poisons. 

DR. VIRANDE 

'Ave you indeed? Next time put in ?ome eggs with 
the milk and carry a little stomach-pump in your waist- 
belt. Then you not need a doctor at all, and we don't 
have to wait all these days, see? [Gathering his instru- 
ments and putting them in his bag.] Now you eat well, 
sleep well, think well, an' you'll be fine, 'ealthy young 
lady again. But no "pump, pump," "ha! ha!" Quiet! 
Rest. Take things easy. [To Madeleine.] So your 
cousin is a doctor and you love poisons ! What are you? 
A nurse? 

MADELEINE 

An actress. 

DR. VIRANDE 

Ah ! an actress ! Where you play ? 

MADELEINE 

In London. I got permission to stay with Mrs. 
Carlton. 

[195] 



THE NATIONAL ANTHEM 

DR. VIRANDE 

So ? I do not know 'ow you act, but you are very good 
nurse. [To Marian.] She save you — not me. 

MARIAN 

When can I see my husband.'' 

DR. VIRANDE 

[Evasively.] Presently! No 'urry. 

MARIAN 

Today.'' [i7e shakes his head.] Tomorrow.^ 

DR. VIRANDE 

A week from today — per'aps. 

MARIAN 

A week! 

DR. VIRANDE 

We'll see. 

MARIAN 

But I'm well! I'm strong! Why can't I go today — 
now? [Trying to rise.] 

DR. VIRANDE 

Ah ! ah ! ah ! You want to be ill again ? Lie on your 
back again? 

MARIAN 

No, no ! I'll be careful. Really I will. Only I 
must 

DR. VIRANDE 

What I tell you.-* No excitement! Lie still! There 
you are. The colour in your cheeks ! Your eyes danc- 
[196] 



Act IV: AFTERNOON OF TENTH DAY 

ing. Quiet, I tell you. . . . One week from now I see 
you — and if you are quiet and peaceful — all right. 

MARIAN 

If I am quiet — and peaceful — may I see him sooner? 

DR. VIRANDE 

Per'aps. We will see. [To Madeleine.] You move 
'er, yes? From 'ere? 

MADELEINE 

Today if you'll let me. 

DR. VIRANDE 

You 'ave rooms somewhere? 

MADELEINE 

[Hands him slip of paper.] There. 

DR. VIRANDE 

[Glances at paper.] That will be good. It is quiet. 
Go now! Away with you ! The noise ! The din ! Mon 
Dieu! 'Ow people live in it! Be off. 

[Madeleine hurries out. Hale motions to Marian 
to introduce him to Dr. Virande.] 

MARIAN 

Oh, doctor! My father! 

DR. VIRANDE 

Your father? Where? Who? [Moves across and 
shakes Carlton warmly by the hand.] I am very glad 
to meet you. Very glad. 

[197] 



THE NATIONAL ANTHEM 

CARLTON 

That's fine. So am I to meet you. Now shake hands 
with her father. [Turning him toward Hale.] 

DR. VIRANDE 

Oh! [Looking at Hale.] You 'er father? [Looks 

at Marian, back to Hale.] Certainement, you are! 

[Laughs a curious little laugh as he presses Hale's 

hand: looks at Carlton quizzingly,.] What a mistake! 

[Madeleine comes in with Marian's hat and cloak 

which she places on the piano. She then calls to 

Mr. Carlton who joins her and they both go into 

the room Arthur used to occupy. '\ 

hale 
[Shaking the doctor's hand warmly. '\ Thank ye, doc- 
tor. Thank ye. . . . And God bless ye ! I'd like to 
speak to you for a minute outside. 

DR. VIRANDE 

You sick? 

HALE 

No. . . . I'd like to ask you a few questions. [Tears 
are in his eyes: his voice breaks,^ 

DR. VIRANDE 

All right. [Turns to Marian.] Au revoir! Some 
Itime tomorrow. And then I see 'ow yon obey me. No 
more "Zit! Zit! Zit!" Gently! Easy! Softly! 
So ! [Pantomimes resting placidly. ] Then you be — all 
right. Yes ? 

MARIAN 

I'll sleep tonight. ... I'm going to get well. . . . 
[198] 



Act IV: AFTERNOON OF TENTH DAY 

I'm going to see Arthur. . . . Yes, I'll sleep toniy'ht 
without drugs. 

DR. VIRANDE 

Throw them out o' the window. I 'ope you never 
'ave to use them again. Congratulations ! I 'ad to be 
sure. That is why I keep you waiting so long. A nasty 
poison. Very nasty. We 'ave to be sure with it. And 
I am, now. You are safe! Au revoir! [Turns to go. 
Hale walks with him to door.^ 

HALE 

Got quite a practice in Paris, eh.'' 

DR. VIRANDE 

Oh, yes. Pretty fair. But a dear friend of mine 
wrote me from America that it is better there for the 
doctors. Ver' much better for the doctors. . . . Ver- 
tigo after the jazz. And the nerves break down from 
keep going all the time. Oh, ver' much better for the 
doctors. All the time busy. Still Paris ver' good too. 
Improving every day. 

[Goes out with Hale.] 

MARIAN 

[Hands Tom back a letter and photographs he has 
been shewing her.'\ It's nice to see something from 
home. . . . Oh, I wish I were back. . . . Tom ! Have 
you seen Arthur? . . . Have you.'' . . . Madeleine 
won't tell me anything about him. Have you seen him.'' 

TOM 

[Looking away; distressed-'^ You love him very 
much; don't you.'' 

[199] 



THE NATIONAL ANTHEM 

MARIAN 

Of course I do. . . . But differently now. ... I feel 
so sorry for him. . . . But I did try to make him 
happy. To keep his love. ... I was so afraid of los- 
ing him. . . . Instead of helping him I just let myself 
drift. ... I tried to be his companion. . . . To please 
him. ... So I drank when he did: and danced into 
the night, and shouted with him. . . . But always dur- 
ing it my heart ached. ... I was so unhappy. 
[Shivers.] Those horrible days and nights. Noise so 
that you couldn't think. Laugh for fear you'd cry. 
Drink to keep yourself going — to deaden feeling. . . . 
Oh, the tiredness of it. . . . Always tired. . . . To 
have a pulse beating loudly through you with weari- 
ness ! \_Shivers as she thinks. ] He's had time to escape 
the sound that kept us prancing, that hateful, deaden- 
ing sound. . . . And the drink that made us Pagan. 
[The band starts loudly in the restaurant. She starts 
up with a loud cry, stopping her ears. Hale and 
Madeleine enter and hurry to her. Tom shuts the 
window. Carlton follows Madeleine into the 
room.'\ 
It's horrible ! Horrible ! It's as though all the evil in 
the world was braying out of those instruments. 

MADELEINE 

She hasn't heard it for ten days, Mr. Hale. 
[Through the closed window comes the mocking, jeer- 
ing, laughing note of the dance. '\ 
[200] 



Act IV: AFTERNOON OF TENTH DAY 

MARIAN 

[To her father.'] We've come a long way from God, 
haven't we? 

HALE 

[Trying to he jovial.'] Oh, I don't know. There's 
not much 

MARIAN 

[Smiling.] Harm in it? 

HALE 

Not a bit. 

MARIAN 

I used to fancy it vivacious. It is only noise, hide- 
ous noise. . . . There is no zest, no richness, no sparkle, 
no colour, no fire in the life we've been living. ... I see 
that now. . . . Just drab, dreary, senseless. . . It's 
a craze. ... A vulgar excitement that needs drink or 
drugs to endure it. . . . And the utter weariness after- 
wards. [Opens •unndoxvs and listens to the dance mu- 
sic] We have come a long way from God, father. . . . 
Listen to that ! ... As though lost souls were crying 
to their Maker while Iheir bodies writhe in indecent 
rhythm. It is not a holy sound, is it? Oh, father, I 
feel as tho I could be a prophet to my generation. 

CARLTON 

No one listens to a prophet, my dear. 

HALE 

Oh, come, Marian, it's not so bad. When you're well 
and strong we'll have many a jazz together. 
[201] 



THE NATIONAL ANTHEM 

MARIAN 

No, father. It's lost its magic for me. 

CARLTON 

Thank God! I'm glad to hear it. . . . Why it's 
ridiculous. London is jigging to it. . . . Paris is deaf- 
ened by it. It has become the National Anthem of Civi- 
lization. 

HALE 

You take it too seriously, John. Tragedies happened 
before the world ever took to jazzing. 

MARIAN 

l^Smiling.] Oh, father! 

CARLTON 

Reuben, you're a wonder. No harm in anything. 

MARIAN 

I hope Arthur can't hear it where he is. 

CARLTON 

l^Very quietly.] I'll bet he does. 

MARIAN 

I don't think so. Madeleine tells me the hospital is 
on a very quiet street. 

[Madeleine puts Marian's cloak around her and 
hands her her hat.] 
I hope they don't stare at me. I couldn't bear it. 
[Loxvers her veil, trembling.] I couldn't bear it. 
[202] 



Act IV: AFTERNOON OF TENTH DAY 

MADELEINE 

Of course they won't. We'll go straight thru the hall 
into the cab. 

MARIAN 

Oh, how I want to get away from Paris. I want to 
go home. . . . You are coming, father? [Hale goes to 
/ler.] Mr. Carlton? [Carlton nods and goes to the 
chair for his hat and coat.^ Will you come with us, 
Tom? 

TOM 

I'd like to. 

[Marian, Madeleine and Tom go out.^ 

MADELEINE 

[As she passes out.'] Everything will be sent after 
us, Mr. Hale. 

HALE 

[^Puts on his Imt.] Coming, John? 

[With a crash a deafening jazz dance starts in the tea- 
room. Carlton thrusts the windows wide open, 
listens to it contemptuously for a moment, then 
raises his hat and bows mockingly to it. As the two 
men go into the corridor 

the curtain falls 

The music ( ! ) can be heard for several seconds after- 
wards triumphantly and deliriously proclaiming its 
right to the proud distinction Carlton conferred on 
it, in this year 1921 : — 

Civilisation's National Anthem.^ 

THE END OF THE PLAY 
[203] 



Deacidified using the Bookkeeper process. 
Neutralizing agent; Magnesium Oxide 
Treatment Date: April 2009 

PreservationTechnologies 

a u/nni n i FsnFR IN COLLECTIONS PRESERVATION 



